Winners and nominees.

The nominees for 75th Golden Globe Awards were announced on December 11, 2017. Winners are listed first in boldface.

Films with multiple nominations.

The following seventeen films received multiple nominations:

Films with multiple wins.

The following films received multiple wins:

Series with multiple nominations.

The following fourteen series received multiple nominations:

Series with multiple wins.

The following three series received multiple wins:

Ceremony.

During a pre-show event the award for "Best Podcast" was announced. The event was streamed live on YouTube. In support of the #MeToo and Time's Up movements, practically all the attendees wore black. Many of the acceptance speeches specifically mentioned these causes, including that of Oprah Winfrey.

Golden Globe Ambassador.

Previously known as Miss or Mr. Golden Globe, the title was changed this ceremony to Golden Globe Ambassador to better reflect inclusiveness. The inaugural ambassador was Simone Garcia Johnson, daughter of Dwayne Johnson and Dany Garcia.

Time's Up movement.

Due to the Weinstein effect, many attendees wore black in support of the Time's Up movement, and wore corresponding #MeToo pins. Tarana Burke, who created the "Me too" movement in 2006, attended the awards as a guest of Michelle Williams.

Activist guests.

Activists attended the ceremony as guests, namely: Tarana Burke as a guest of Michelle Williams, Rosa Clemente as a guest of Susan Sarandon, Saru Jayaraman as a guest of Amy Poehler, Billie Jean King as a guest of Emma Stone, Marai Larasi as a guest of Emma Watson, Calina Lawrence as a guest of Shailene Woodley, Ai-jen Poo as a guest of Meryl Streep, and Mónica Ramírez as a guest of Laura Dern.

Reception.

Ratings.

The ceremony averaged a Nielsen 5.0 ratings/18 share, and was watched by 19.0 million viewers. The ratings was a five percent decline from the previous ceremony's viewership of 20.02 million, becoming the lowest since 2012.

"In Memoriam".

No "In Memoriam" section was broadcast on television during the ceremony, so the HFPA included a slideshow on their website, and they included the following names:

The 75th Golden Globe Awards honored film and American television of 2017, and was broadcast live on January 7, 2018, from The Beverly Hilton in Beverly Hills, California beginning at 5:00 p.m. PST / 8:00 p.m. EST by NBC. This Golden Globe Awards ceremony was produced by Dick Clark Productions in association with the Hollywood Foreign Press Association.

第75届金球奖(英语:75th Golden Globe Awards)在2018年1月7日于美国加州洛杉矶比佛利山比华利希尔顿酒店举行颁奖典礼,由NBC进行电视转播,用以表掦2017年出色的电影及电视作品。


Description.

The subway station is located on the northwest corner of Millway Avenue and Highway 7, west of Jane Street, and is one of two new stations that are outside the City of Toronto in York Region. Geographically, this is the northernmost station in the subway system.  Grimshaw Architects designed the station, which has a domed ovoid entrance building just north of the Rapidway platforms on Highway 7. The building has four main entrances in an X pattern, plus an underground connection to the 100 New Park Place office tower, with knockout panels for access to additional future developments, which includes an under-construction second office complex that will also contain a YMCA and public library. The main entrance features a cool roof, and a nearby electrical substation located on the south side of Highway 7 has a green roof. Toronto-based Paul Raff Studio provided the station's artwork, titled "Atmospheric Lense", consisting of coloured mirrored panels and windows located on the domed ceiling, and visible by looking up stairwells.  Underground corridors lead both north and south from the station's concourse level to two YRT bus terminals. The north corridor leads to the SmartVMC Bus Terminal, where passengers can transfer to conventional YRT bus routes, and the south corridor leads to the Vaughan Metropolitan Centre Vivastation on the Highway 7 Rapidway, where riders connect to Viva and Züm bus rapid transit routes. The fare-paid area features a Gateway Newstands kiosk.

History.

On November 27, 2009, the official groundbreaking ceremony was held for the Toronto-York Spadina Subway Extension (TYSSE), and tunnelling began in June 2011. The project was expected to be completed by the autumn of 2016, but was revised to be operational by the end of 2017. On September 6, 2017, the TTC announced that the extension would open for service on December 17, and on that date, the extension opened, with this station replacing as the northwestern terminus of Line 1.  This station was, along with the five other TYSSE stations, one of the first to be opened without collector booths. It was also among the first eight stations to end the sale of legacy TTC fare media (tokens and tickets). Presto vending machines were available to sell Presto cards and to load funds onto them.. On May 3, 2019, this station became one of the first ten stations to sell Presto tickets via Presto vending machines.

Station name.

During the initial planning stages of the TYSSE, the City of Vaughan wanted the station named "Vaughan Corporate Centre", after the name of its proposed new downtown, and later requested "Vaughan Metropolitan Centre" after it changed the name of the development. On September 30, 2010, a TTC committee recommended that the name be changed to "Vaughan Centre", despite the City's desire for the full name. However, the TTC delayed a final decision on the committee's report until February 2012, when Vaughan's preference for the full name was adopted. The TTC originally rejected the name to avoid linking the station to a specific development. The length of the name was seen as an inconvenience and "Vaughan Centre" was more consistent with other regional centre station names (i.e. and ). A survey was conducted between September 23 and October 21, 2011, by the TTC to determine the preferred name. 80% supported "Vaughan Centre", 5% supported "Vaughan Corporate Centre", 9% supported "Vaughan Metropolitan Centre" and 7% supported other names. Other discussed names were "Highway 7", "Highway 7 West", "Jane North", "Edgeley", "Creditstone", and "Applewood". The new Toronto Rocket subway trains' exterior front and rear destination signs display simply "Vaughan" and, on trains with side exterior destination signs, "Line 1 towards Vaughan", rather than the full station name.

Subway infrastructure in the vicinity.

As this is a terminal station, there is a diamond crossover to the south of the platform for arriving trains to cross over to the southbound track, and for departing trains on the northbound track to cross to the southbound track. There are also tail tracks beyond the north end for overnight storage for two trains, with a trackless extra tunnel between them for a future potential third.

Fare zones.

To avoid the difficulty of implementing a payment-on-exit system, the station is part of the TTC's Toronto fare zone despite being located in York Region. This is in contrast to TTC-contracted bus routes, where riders are required to pay extra fare when their bus crosses the municipal boundary at Steeles Avenue. This is analogous to the situation in 1968, when five subway stations opened outside the pre-amalgamation Toronto city limits in the TTC's "Zone 2" area at the time, yet no extra fare was required to reach those stations, although the Zone 2 fare was charged when transferring to connecting bus routes in the suburban municipalities of Metropolitan Toronto. Similarly, at this (as well as at the adjacent Highway 407) station, there are no free transfers to and from regional buses, which are the only surface routes serving it.

Surface connections.

No TTC buses connect to this station, but the aforementioned two bus terminals serve regional buses:

SmartVMC Bus Terminal.

SmartVMC Bus Terminal (previously known as SmartCentres Place Bus Terminal) is a YRT bus terminal north of the station to the west side of Millway Avenue, outside the station's fare-paid area. Diamond Schmitt Architects designed the terminal in a horseshoe shape. The building features open architecture that can be accessed from every direction. It has a passenger kiss-and-ride area on Millway Avenue and also has an underground walkway linking it with the subway station and the Vivastation on Highway 7.  The total cost of the terminal was approximately $32million. The terminal was named after its developer, SmartCentres REIT, who contributed $15million in financing for an underground connection between the bus terminal and the station.  The terminal was opened on November 3, 2019, nearly two years after the station. It was expected to open in early 2018, shortly after the station itself, but it was delayed due to unspecified "unforeseen circumstances". Prior to the opening of the terminal, buses used the current kiss-and-ride area.  The following YRT routes serve the terminal:  The following routes use an on-street stop at the station's main entrance on Highway 7 and do not stop inside the terminal or Vivastation:

Vivastation.

The Vaughan Metropolitan Centre Vivastation is a covered transfer facility in the centre of the Highway 7 Rapidway. It allows Viva Orange and 501 Züm Queen BRT bus routes to quickly serve the subway station without having to pull into the SmartVMC terminal. The facility is located directly above the station's concourse and connects to it via escalators and elevators. It is located south of the main station building and bus terminal, both of which can be accessed either underground through the concourse or at ground level via a crosswalk and sidewalks.

City centre development.

Vaughan plans to build a transit-oriented city centre from scratch around the station in what is a low-density area featuring big box stores and vacant land. Vaughan projects that by 2031, the new downtown will have 25,000 residents and employment for more than 11,000 people. Vaughan planning commissioner John MacKenzie said that Mississauga took 20 to 25 years to build its city centre without a subway, but hopes to accelerate the process in Vaughan with the help of the subway extension.

Vaughan Metropolitan Centre (also known as Vaughan, Vaughan Metro Centre or VMC) is a rapid transit station in Vaughan, Ontario, Canada. Opened on December 17, 2017, it is the north terminus of the western section of the Toronto subway's Line 1 Yonge–University. It is operated by the Toronto Transit Commission (TTC) and is one of two subway stations in the system outside of Toronto's city limits. It provides connections to Viva Rapid Transit's Highway 7 Rapidway, which is also used by Brampton Transit's Züm buses, as well as local bus routes of York Region Transit (YRT).

旺市都会中心站(英语:Vaughan Metropolitan Centre Station)是一座多伦多地铁央街-大学-士巴丹拿线车站,坐落加拿大安大略省约克区旺市7号公路和珍街(英语:Jane Street)的交界处以西,于2017年12月17日联同士巴丹拿地铁延线项目其他车站一起开幕,取代唐士维站成为该线的西北端终点站,以及整个多伦多地铁系统中地理位置最北的车站。另外,此站启用后亦成为多伦多市管辖范围以外,以及约克区和旺市范围以内两个多伦多地铁车站之一;另外一个则是407号公路站。


Station name.

The station was initially expected to be named Steeles West. This followed the usual convention of TTC stations being named after cross streets, with "West" appended to station names on the northern section of the western branch of the line having counterparts along the eastern branch. In this case, there was no "Steeles" station counterpart on the eastern branch, and instead the unbuilt station was named Black Creek Pioneer Village on September 28, 2012, after the nearby heritage museum. On July 24, 2013, the name was shortened to Pioneer Village.

Description.

The station lies on a northwest–southeast axis, with the line approaching the station from York University station northwestward, directly under the university's main buildings. The northern portion of the station lies in the City of Vaughan (York Region) and the southern portion in the City of Toronto. There are three station entrances, two being structures that are situated on both the north and south sides of Steeles Avenue. One of two south entrances (in Toronto) connects to the fare-paid TTC bus terminal. with 12 bays. The other is incorporated into the bus terminal itself and is accessed via a signalized crosswalk across the bus driveways from the university's sports facilities. The third—the north entrance in Vaughan—is adjacent to the York Region Transit bus terminal as well as an on-street passenger pick-up and drop-off area. A large commuter lot with a 1,881-vehicle capacity is situated in the hydro corridor to the north of the YRT terminal. Unusually, both street entrances lead to separate mezzanine levels, despite both serving as primary points of access (although many stations have secondary automatic entrances), and it is necessary for non-subway riders transferring between TTC and YRT buses to go down to and walk the length of the platform to connect between the two bus terminals.  The station has three levels: the entrances at street level, the two mezzanines just below them, and the train platform at the bottom. Enough space has been left between the surface and the platform to allow for the construction of an underground station for a future light rail transit line.  The Spadina Group Associates designed the station, which features entrance structures on the southeast and northwest sides at a street intersection. The layout makes the entrances mirror each other, giving an overall symmetrical effect. The southwest corner of the intersection also includes an oculus for a light cone above the platform. Both entrance structures have cool roofs and green roofs. To the south of the station, there is a crossover to short turn trains.

Artwork.

Artists Tim Edler and Jan Edler of Berlin-based Realities-United provided interactive artwork, titled "LightSpell", consisting of a row of 40 light fixtures suspended from the ceiling over the platform. These units can display text as well as illuminate the platform. The intent of the artists was that waiting passengers would key in text (maximum of 8 characters) using several touch screens for display on the lighting units. Other waiting passengers could change the text. However, when the Toronto–York Spadina Subway Extension (TYSSE) opened, the TTC decided not to activate this feature, despite previously agreeing to do so as shown by the installation of the commissioned piece, because of the potential for displaying offensive messages. Given that the 2009 revision of the TTC By-law No. 1 explicitly prohibits the use of such language, a question remains of how that by-law would apply to an artwork as it is not itself communicating "profane, insulting or obscene language or gestures". The TTC is negotiating a compromise solution with the artists, raising questions of how a compromise of this nature undermines the fundamentals of the artwork. The cost of the artwork was $500,000.

History.

On November 27, 2009, the official ground-breaking ceremony was held for the TYSSE project, which included the construction of Pioneer Village station. Tunnelling began in June 2011. The project was expected to be completed by the autumn of 2016, but was delayed for two years. The extension and station opened on December 17, 2017.  Pioneer Village was originally planned to be a temporary terminus for the western arm of Line 1 Yonge–University, which would later be extended to Vaughan Metropolitan Centre. However, the entire extension, with its six new stations, was completed as one project.  This station, along with the five other TYSSE stations, were the first to be opened without collector booths. It was also among the first eight stations to discontinue sales of legacy TTC fare media (tokens and tickets). Presto vending machines were available to sell Presto cards and to load funds onto them. On May 3, 2019, this station became one of the first ten stations to sell Presto tickets via Presto vending machines.

Nearby landmarks.

The major buildings of York University's main Keele Campus lie to the southeast of location. Canlan Ice Sports and the Aviva Centre (home of the Rogers Cup) are found to the southwest, the Toronto Track and Field Centre to the east and York Lions Stadium (home of York9 FC) to the immediate south. The station's namesake, Black Creek Pioneer Village, lies less than to the southwest.

Surface connections.

The following routes serve this station.

Pioneer Village Terminal.

A York Region Transit bus terminal is located outside the station's fare-paid area on the north side of Steeles Avenue on the west side of Northwest Gate. It lies adjacent to the commuter parking lot and has an outdoor walkway linking it with the station. There are no free transfers between these routes and the subway.  The following YRT routes serve the terminal:

Pioneer Village is a subway station on the Line 1 Yonge–University of the Toronto subway. It is located under the intersection of Northwest Gate and Steeles Avenue, at the city boundaries of Toronto and Vaughan, Ontario, Canada. A Toronto Transit Commission (TTC) bus terminal is connected to the southern portion of the station, and there is a regional bus terminal, the Pioneer Village Terminal, for connecting to York Region Transit (YRT) buses on the north side of Steeles Avenue. Pioneer Village, Highway 407 and Vaughan Metropolitan Centre stations are the first Toronto subway stations fully or partially located outside the Toronto city limits since its last amalgamation in 1998.

先锋村站(英语:Pioneer Village Station)是一座多伦多地铁央街-大学-士巴丹拿线车站,坐落加拿大安大略省大多伦多地区东西向要道之一士刁士大道和西北门(英语:Northwest Gate)的交界处。士刁士大道是多伦多市和约克区之间的界线,此站亦因此标志着多伦多地铁首次超出多伦多市的管辖范围,迈进约克区旺市。此站于2017年12月17日联同士巴丹拿地铁延线项目其他车站一起开幕。


Etymology.

The origin of the name of Landepereuse is easy to find. It derives of the Norman way to pronounce "lande pierreuse" (stony land). The word "lande" comes from Gallic and indicates a dry ground where just few plants grow. Stony is due to the abundance and the size of the stones, sometimes multi metric that are presents in abundance. So this commune did not have been a paradise for the first inhabitants: it was probably difficult to clear and to cultivate at this time when tractors did not exist and metal or iron tools were expensive and rare.

Geography.

Landepéreuse is a small rural village of Pays d'Ouche located in the south western Eure, in Normandy. Its surface is 892 ha. With uneven maximum of 48 m (altitude ranging between 187 m in the South-West and 139 m in the North-East; town hall at 170 m), this commune slightly undulating, is representative of the territories of Pays d'Ouche who announce already the hills of the Perche country in the south and the Pays d'Auge to a few kilometres in the West. It is constituted of fields, pastures, orchards and woods. These are sometimes separated by hedges, in which the principal species are: Hawthorn, the blackthorn (Sloe). The territory of the commune is crossed by two dry valleys.  Regularly, each year, during strong rain, these two valleys run during few hours to few days (see below the longest valley in January 2008). During the important wet episode in the beginning of 2001 (floods in the Somme), those more in the east ran during a few months.

Geology.

The geological basement of the commun consists of the geological strates commonly encountered in the Paris Bassin ("o.b..") from the latter primary to the Holocene. Only rare rocks and formations are, or have been accessible to humans. The oldest are of upper Cretaceous.  They are formed of marly chalk exploited formerly in underground quarries, for a long time abandoned. We can see in the landscape, the old fallen down wells access and the cave-in, locally known as bétous (or boitous): (bétoire s in the French version) (see left side, the geological map).  On the surface, we see in abundance in some areas of the commune sandstones of Cenozoic age (see map) geological). They can grow to a plurimetric size. No fossil (macro or micro) have been observed. So their age may not be precisely specified. For some authors their appear to be sandstones of Paleocene age, such as those visible at the top of the surrounding chalk cliffs of Dieppe or the Tréport and nearly of Bosc Renoult for example. For another, their appear to be sandstone of Oligocène age, such as those well known of the Fontainebleau forest to the South of Paris or Séran mound in the French Vexin. From a scientific study, many thin blades have been cut to try to remove this ambiguity. They have only shown one cristallized charophyte oogone ( reproductive seaweed cells) (currently living in freshwater) not datable. Around valleys we can observe heterogeneous rocks (flint, pure sandstone, more or less strongly ferruginated sandstone...), heterometric (centimetric to pluridecimetric), relatively well rolled. This geological set reminds alluvium, inheritance of the passed valleys activity, with a relatively high current speed (such as the Charentonne today) (RS on the geological map). The other parts of the commune is coated with limon (see geological map), not very thick compared to that we can encounter in the Lieuvin or in the Campagne d'Evreux. This layer provides a fertility relative to the ground of the commune. Because of the sandstone and cailloutis abundance, Landepereuse would not have been a paradise for its first inhabitants: it was probably difficult to clear and cultivate its ground at a time when tractors didn't exist and iron or at least metal tools were rare or expensive. By the finness of the limon, this commune was, before the advent of organic fertilizers, a land of extensive farms and survival food. Therefore, geology is the origin of the landscape of this typical bocaged village of the Pays d'Ouche. Limons, here of brown color, decalcified and clay concentrated by the paedogenesis (lehm) could however be used in this commune for bricks manufacture.

Landepéreuse is a former commune in the Eure department in Normandy in northern France. On 1 January 2016, it was merged into the new commune of Mesnil-en-Ouche.

朗德佩勒斯()是法国厄尔省的一个旧市镇,位于该省西南部,属于贝尔奈区。该市镇总面积8.92平方公里,2009年时的人口为327人。


Specifications.

Hardware.

The OnePlus 5T features a redesigned 6.01" Full Optic 2160x1080 AMOLED display, which the company calls the "Sunlight display" and claims to provide a crisp and bright experience even when used in a sunny environment, such as when outdoors. The display uses the 18:9 (2:1) aspect ratio instead of the 16:9 aspect ratio found in most smartphones, and supports the DCI-P3 wide color gamut standard. It also has a pixel density of 401ppi, and features smaller bezels than found in previous OnePlus smartphones such as the OnePlus 5 and 3T. The 5T's body is made entirely from anodized aluminum, uses 2.5D Gorilla Glass 5 as protection for the display, and uses a ceramic coating for the fingerprint sensor which was moved to the rear of the phone. It also features an "Alert Slider" located on the left side of the device, a feature that is also available on its predecessors, the 5, the 3T, and the 3, which allows users to set their notifications to silent. The 5T is powered by the Qualcomm Snapdragon 835 and comes with the choice of either 6 or 8 GB of LPDDR4X RAM, depending on the storage configuration. Similar to its predecessor, the phone is available in either a 64GB or 128GB configuration.  Unlike OnePlus devices released in the past, the phone does not feature any physical hardware buttons on the front of the device, electing to use virtual navigation keys instead. It features a non-removable 3,300 mAh battery, capable of fast charging by OnePlus' proprietary Dash Charge through its USB-C port. The phone retains the 3.5mm headphone jack, but lacks stereo speakers, instead opting for a mono speaker located on the bottom of the device. The device features a combination of a 16 MP main lens (Sony Exmor IMX398) and a 20 MP secondary lens (Sony Exmor IMX376K) located on the device's rear, both of which have an aperture of f/1.7. They are capable of shooting 4K video and "Portrait mode" shots, like many other flagship devices. The front (selfie) camera is also a 16 MP sensor, with an aperture of f/2.0. The 5T features a "Face Unlock" facial recognition feature that can be used to unlock the device, however it lacks the ability to authenticate purchases. Since it uses 2D scanning, it is relatively faster than some other competitors, but doesn't work in particular lighting conditions and is not as secure.  The OnePlus 5T has become available in multiple limited edition variants over time, such as a Star Wars edition promoting, which came with a special case and a new color scheme; a "Sandstone White" variant which was released on 5 January 2018 and featured a white color scheme and a red "Alert Slider", which sold out in under 2 hours; and a "Lava Red" variant which was released on 11 January 2018 initially in India, and became available in Europe and North America on 6 February.

Software.

The OnePlus 5T ships with Android 7.1.1 "Nougat" and uses the OxygenOS user interface, OnePlus' proprietary custom skin built on top of Android, adding various features not found in the stock Android operating system, such as night mode and reading mode, which both change the color temperature of the device's screen, and the ability to change the Bluetooth audio codec. The night mode reduces the screen's color temperature to reduce blue light levels, while the reading mode applies a monochrome-like effect to the screen. Unlike the OnePlus 5, the 5T no longer overrides the performance scaling in benchmarks to max out CPU and GPU clocks in specific applications, this makes benchmarks being run on the 5T more accurate.  OnePlus promised an update to Android 8 "Oreo" (OxygenOS 5.0) in early 2018. The first beta for this version was released on 29 December 2017, but was pulled a couple days later due to issues with regards to instability that were present. OnePlus fixed the issues and reuploaded the beta version on 3 January 2018.  The first stable Android Oreo-based version of OxygenOS (OxygenOS 5.0.2) for the OnePlus 5T was released on 31 January 2018, introducing features such as Picture-in-Picture, Autofill, and Notification Dots, as well as a faster boot time. The update also introduced a redesigned Quick Settings menu, introduces a security patch for CVE-2017-13218, and updates a few system applications. The update does not contain the Treble feature for device independent system updates. On 11 March 2018, OnePlus released the Android 8.1 "Oreo" update in beta for the OnePlus 5 and the OnePlus 5T, bringing the changes made to Android 8.1 such as the Neural Networks and Shared memory APIs, the dimming of the navigation bar when it is not being used to the devices, and other improvements, such as improvements to the Autofill framework. The update also updated the security patch level to 1 February 2018.

Network compatibility.

The OnePlus 5T includes only a single variant for cellular networks worldwide.

Reception.

Critical reception.

OnePlus 5T received generally positive reviews. "The Verge" was full praise for the phone's elegant design and optimized software but noted that the camera was still mediocre. Engadget heaped praise on the phone for its excellent performance despite its price bracket.

The OnePlus 5T is an Android-based smartphone produced, released and marketed by OnePlus. It was unveiled on 16 November 2017 via a live streamed press event which aired on YouTube. It went on sale on 21 November 2017. It is an incremental update to its predecessor, the OnePlus 5, which was unveiled only five months prior. Some notable changes that are featured, includes, a larger display and thinner bezels found on the device with the repositioning of the fingerprint scanner from the front to the rear panel. On 17 May 2018 the OnePlus 5T was succeeded by the OnePlus 6.

一加手机5T(OnePlus 5T,外文常缩略为OP5T)是中国大陆厂商一加推出的智能手机,于2017年11月16日发表。它是2017年发布的一加手机5的继任者。


Purpose.

The purpose of Mod DB is to list the mods, files, tutorials and information of any games that are capable of being modded with user-made content. Community involvement is strongly encouraged, and any game mod with a website is allowed to post a screenshot gallery, news, and requests for help. Scott's intentions, from the beginning, were to get the community heavily involved in the creation and development of the website. To this end, the most active members were chosen as moderators and administrators. The core staff generally remain the same, while lower positions are heavily rotated among trainee moderators, and administrator candidates. The site's staff mostly act as chaperones or librarians, keeping appropriate content available to the public and featuring the more exceptional content.

History.

Scott Reismanis stated in an interview, "My first site was Gamerzoned, which became Gaminzone, then Chaosrealm and Modrealm". ModRealm was refactored and improved upon to include more developer tools. After months of additional development, it was rebranded as ModDB. Reismanis coded the site engine himself, which would cover all of the mod-related subjects. ModDB 1.0 debuted in June 2002. It quickly gained a group of core members who became the basis for the active community which the site has today. In 2004, the second version of the site was released, and many new features were implemented along with a complete site redesign. Version three followed in December 2005, once again redesigning the site's organisation and aesthetics.  On 6 October 2006, Addon DB another website by the Mod DB team opened up a public beta for registered members of Mod DB. Addon DB's aim is to list additional content for game not applicable under the category of game modifications. This includes models, skins and maps. Following the creation of Addon DB, Scott Reismanis founded DBolical Pty Ltd. (formally DesuraNET), which subsequently acquired ownership of both Addon DB and Mod DB.  In September 2007 Mod DB changed and was overhauled to bring it up to version 4. This included integrating Addon DB into Mod DB. There were major enhancements like the ability to register a game rather than a mod as well as a better private messaging system.  In 2010 DBolical Pty Ltd. launched the "IndieDB" website dedicated to indie gaming.  In 2011 Mod DB removed School Shooter: North American Tour 2012 after "receiving quite a bit of threatening mail as people believe we are the creators, supporters and makers of this content."

Mod of the Year.

Mod DB's Mod of the Year competition, the 'Golden Spanner' awards, aim to set the industry standard in awarding inventive and high-quality mods. Mods are chosen via a community vote and are then reviewed by staff to produce the final list of winners. The competition aims to encourage all fields of modding, with different categories such as graphics and gameplay, as well as a traditional 'best mod' winner.

2019.

Editors' choice  Players' choice – Best Upcoming Mod  No specific categories were chosen. The Mod DB editors picked the 10 best mods, unranked.

Mod DB is a website that focuses on general video game modding. It was founded in 2002 by Scott "INtense!" Reismanis. As of September 2015, the Mod DB site has received over 604 million views, has more than 12,500 modifications registered, and has hosted more than 108 million downloads. A spin-off website, Indie DB, was launched in 2010 and focuses on indie games and news.

Mod DataBase(或称Mod DB)是一个专注于电子游戏模组的网站,2002年由Scott "INtense!" Reismanis建立。截至2015年9月,Mod DB已有超过604万次的访问,超过12500个登记在案的模组,超过108万次的下载。同类网站Indie DB在2010年上线,专注于独立游戏。


History.

The first tenders for line construction were awarded in September 2007. On 23 Jan 2008, the DMRC awarded a 30-year build-operate-transfer PPP contract to the Reliance Energy-CAF consortium. However, DMRC paid for half of the construction cost and executed tunneling and civil works.  The elevated section of the Airport Express Line was built over eight busy roads which carry a heavy volume of traffic, including the Ring Road, National Highway 8, Ridge Road and Sardar Patel Marg.  Originally scheduled to open by 31 August 2010, well in time for the 2010 Commonwealth Games, the line finally opened on 23 February 2011 at 2 pm after missing four previously set deadlines. The DMRC fined Reliance Infra 37.5 lakh every day from 30 September, and 75 lakh every day from 31 October for repeatedly missing the deadlines. The Aerocity and Dhaula Kuan stations opened on 15 August 2011.  Services were suspended on 8 July 2012 due to a series of technical problems, including cracks in the girders, the iron beams that support the tracks; dislocated bearings that support the train; defective tracks and water seepage in tunnels. The Urban Development Ministry subsequently disclosed that several clips in the underground section have been seriously damaged and it will take at least 5 months to rectify the problem. A joint inspection by Delhi Metro and Reliance Infrastructure team has revealed that 540 bearings need rectification and some girders which have cracked also need to be recast.  The line reopened on 23 January 2013, operating at a reduced speed of 50 km/hr. The speed was gradually increased after inspections by the DMRC and other experts. At the reduced speed the time travel from New Delhi Metro Station to Airport was around 40–50 minutes. In the future it may be possible to reinstate original targeted speeds of 105 km/h if safe operation can be ensured.  At present the line supports a speed of 80 km/hr providing for a 19-minute journey from New Delhi station to the Airport station.

Operations.

While it was initially planned to run trains 24 hours a day with a frequency of 10 minutes, train services currently operate from 4:45 am to 11:30 pm, with a 15-minute frequency.  While originally expected to carry 42,000 people daily by 2011 as per detailed project report prepared by DMRC, actual ridership has hovered around 20,000. In recent years due to several initiative and fare reduction by the DMRC ridership crosses 50,000 per day.

Fare.

The fare for commuting has been fixed at for travel from New Delhi station to IGI Airport and for commuting from New Delhi to Dwarka Sector 21. There are also passes available for 30 and 45 trips costing and respectively for travelling from New Delhi to IGI Airport. This keeps the per trip cost at and respectively and are valid for one calendar month. There are other such passes available for different origin destination combinations. Stored Value cards are also on offer which will give 10% discount on all the trips. Current airport express fares are cheaper than any other modes of transport to reach airport.

Stations.

All the six metro stations on the line are known as City Airport Terminals (CATs). They are fitted with state-of-the-art gadgets like explosive detectors, large x-ray baggage scanners, under vehicle scanners, quick reaction teams and dog squads to ensure full security of commuters and baggage alike. The stations have full-height platform screen doors to prevent untoward incidents and to provide better air conditioning. All the stations are secured with a network of CCTV cameras which relays live images to the station control room, security control room and operations control centre. The security of the airport line is handled by Central Industrial Security Force who also handles the safety of all the stations of DMRC.  All the stations are disabled friendly so that people on wheelchairs can access them with facilities such as stations with ramps having a mild slope leading to elevators, the elevators are specially designed for the convenience of physically challenged people and capable of carrying stretchers, help call points are located at various points of stations and trains so that in case of any emergency, a disabled person can seek help by just pressing the call buttons. The elevators can be used by visually impaired persons with the elevator buttons having Braille letters.  As of now there are no plans to extend the Orange line as the city of Gurgaon is already well connected to Delhi via the Yellow Line. The city is also served by Rapid Metro that caters to the needs of Gurgaon and is in turn connected to Delhi Metro too. The line would be extended till Dwarka Sector 25, where a convention centre would be coming up in a few years.

Infrastructure.

Siemens Mobility is providing signalling, power transmission, and baggage handling system enabling passengers to check in with baggage at the New Delhi Railway Station and Shivaji Stadium, with 1200 passengers per hour capacity. The €34 million project was expected to be completed by 2010 in time for the Commonwealth games but it did not manage to meet the deadline. Alcatel is supplying the communications systems. Indra Sistemas is providing the ticket machines. Faiveley is providing the platform screen doors. Bluestar and Honeywell is the control and automation provider for Station Management System (SMS). Bluestar is the main BEMS system provider.  The line will be the first line in the country to be mapped on Geographic Information System to enhance safety, maintenance and traffic regulation and will help in mobilising emergency services in case of an accident. In April 2020, DMRC published a notice for procuring a SCADA System at the line's Operational Control Centre (OCC)

Rolling stock.

Eight six-car trains supplied by CAF Beasain were imported from Spain. CAF holds 5% equity in the DAME project and Reliance Infrastructure holds the remaining 95%. The trains on this line are of a premium standard and have in-built noise reduction features for a noise-free ride with padded fabric seats. The coaches are equipped with LCD screens for entertainment of the passengers and also provide flight information for convenience of air travellers. The trains are fitted with an event recorder which can withstand high levels of temperature and impact and the wheels have flange lubrication system for less noise and better riding comfort.  Based on the consultancy by MTR, the interior design of the rolling stock is highly similar to that of Airport Express line in MTR Hong Kong which uses very similar trains.

Tracks.

To ensure safety, the tracks are fitted with RHEDA-2000 signalling technology, which theoretically allows trains to travel at up to 350 km/h (nearly three times the actual maximum speed of current trains). The entire 22.7 km route is ballast-less track, which costs 40–50% more than normal train tracks, but does not take longer to lay than traditional tracks. The rails rest on rubber pads on the concrete sleepers for less noise.  The 7 km elevated section from Buddha Jayanti Park to Mahipalpur has been built with 25 m long girders for the first time in India. The 504 girders weigh 120 tons each and were cast in Mahipalpur and transported on 35 m long trailers with 64 tyres.

Check-in and cloak room facility.

The line has the first check in facility outside an airport in South Asia.  Passengers flying with Air India and Vistara which use T3 terminal as base of operations can check in at the New Delhi Metro Station. The check-in can be done anytime before 6 hours to 2 and half hours before departure time. Passengers flying for international flights also started checking in as this facility from 22 February 2012.  Cloak room facilities are available as well, with rates beginning at Rs 50 for the first 4 hours for luggage weighing less than 20 kilograms, to Rs 350 for 24 hours for luggage weighing more than 30 kilograms.

Smartphone as ticket.

Delhi Metro Rail Corporation has introduced QR code-based ticketing facility for travel on Airport Express Line from September 2018. The system will enable passengers to purchase tickets using ‘Ridlr mobile App’ without physically coming to the metro station. Airport Line stations even have QR-enabled entry and exit gates for commuters.

WiFi service.

The Airport Express line introduced WiFi services at all six stations along the route on 13 January 2012. It was the first line of the Delhi Metro to provide WiFi services. Connectivity inside metro trains travelling on the route is expected in the future. The WiFi service is provided by YOU Broadband India Limited.

Post office.

The post office will have all basic postal services like speed post, e-post, express parcel, registered post, postal stamps and revenue stamps on all working days from 10 am to 4 pm.  Both commuters and non-commuters can avail the benefit of this postal service as the counter is located at the non paid area of New Delhi metro station's concourse level.

Movie shooting and promotional venue.

Ever since Shah Rukh Khan boarded the Delhi Airport Metro Express line to promote "Ra.One", the new line has become the cynosure of most Bollywood promotions in the capital. Actor Abhishek Bachchan, along with co-stars Sonam Kapoor and Neil Nitin Mukesh headed to the Airport line to promote his movie "Players" in Delhi, and also attempted to break a safe while travelling from one station of the Airport line to another.

The Orange Line or Delhi Airport Express Line is a Delhi Metro line from New Delhi Metro Station to Dwarka Sector 21, linking Indira Gandhi International Airport. The line was opened on 23 February 2011 after missing four previously set deadlines. It was built at a cost of 57 billion, of which Reliance Infra paid 28.85 billion (U$580m), Reliance Infra will also pay fees on a Revenue-share model

德里地铁机场快线(英语:Delhi Airport Metro Express、)是德里地铁的一条地铁路线,在地铁图上以橘色表示,因而又被称为橘线。目前共有6座车站营运中,两端点站从新德里站 (地铁)途经英迪拉·甘地国际机场到德瓦卡21区站。在经过数次延期后,本线于2011年2月23日开始营运。德里地铁机场快线的建造成本总共耗费570亿卢比,这当中有288.5亿卢比(5.8亿美元)由信实基建支出,其中一部分以收益共享模式支付费用。


Early life and influences.

Petrie was born and raised in Auckland, New Zealand. He began his early musical training while boarding at Dilworth School for eight years, studying piano and composition. After winning a scholarship to study film scoring at the Berklee College of Music in Boston, Massachusetts, he relocated to the United States, and completed a degree majoring in film scoring.

Career.

After graduating from Berklee College of Music, Petrie was awarded the BMI Foundation's Pete Carpenter Film Composing Fellowship. He was flown to Los Angeles to work under the Grammy Award-winning composer Mike Post. He then began writing for TV shows and independent films. In 2007, he collaborated with PostHaste Music to compose music for trailers. He went on to compose dozens of tracks for them. He is known for "infusing contemporary elements on top of epic orchestral writing" (Output.com).  In 2012, he released his first album 'Genesis', featuring 27 tracks in the "modern, epic orchestral style showcased in his work in trailers for "The Amazing Spider-Man", "The Green Lantern", "", "", and "Battleship"."  Fan made music videos featuring Petrie's music began to surface on YouTube around 2010 and many have amassed millions of views.

Awards and nominations.

In 2004, Petrie won the Columbine Award at the Moondance International Film Festival for the 2003 film Cafe and Tobacco, shared with Michael Justiz. In the same year, he was awarded the Pete Carpenter Fellowship.  In 2018, he won the ASCAP Screen Music Award for Top Television Series for "The Bachelor" and "The Bachelorette".

Mark Petrie (born 20 May 1979) is a New Zealand film, television and video game composer. He is best known for composing the music in trailers for "Guardians of the Galaxy", "Life of Pi", "", "", "", and "Venom", as well as writing the score for EA Sports' "Madden NFL" American football video games. He has also composed scores for films, television shows, documentaries, political campaigns and sporting events.

马克·佩特里(英语:Mark Petrie,1979年-5月20日)是新西兰电影,电视和视频游戏作曲家。他最知名的是为 Guardians of the Galaxy, Life of Pi, Mission Impossible: Ghost Protocol, Sherlock Holmes: A Game of Shadows的预告片配乐,以及为Madden NFL撰写得分的预告片制作音乐。 他还为电影,电视剧,纪录片,政治运动和体育赛事编曲配乐。<br> 他最知名的一首音乐是 Go Time


Lexicology.

People who are sexually attracted to sexbots are sometimes referred to as digisexuals or "robosexuals".  Sexbots with a male design may be referred to as "malebots" or "manbots". Gender neutral terms for sex robots include pleasure bot, sex droid, love-bot, love droid or eroto-bot. Sexbots with a female design have been referred to as "chick-bots" or "fembots".

History and development.

The sex robot has evolved from sex doll precursors that stem back as far as the 16th century, during which French and Spanish sailors created hand sewn masturbation puppets made of cloth, leather, and old clothes. Many scholars consider this creation to be the direct predecessor of modern sex dolls. Much of the inspiration for creating the modern sex doll came from mannequin-based art created by Hans Bellmer, Man Ray and Salvador Dali. Man Ray claimed that surrealists, including himself and Dali, infused their work with eroticism and personally "violated" their mannequins. For example, Dali's "Rainy Taxi" centered on a female mannequin whose half undressed body was crawling with live snails.  By 1968, sex dolls were first advertised in pornographic magazines and became available for purchase via mail. These sex dolls were inflatable with air; consisting of penetration areas at the mouth, vagina, and anus. However, due to their inflatable nature, these dolls were subject to deterioration and were not sustainable for constant use. By the 1970s, materials such as latex and silicone were widely used in the manufacturing of sex dolls to facilitate enhanced durability and a greater resemblance to a human.  The realism of sex robots greatly accelerated in the late 1990s. In 1997, Matt McMullen began constructing lifelike, tin-cure silicon mannequins called RealDolls that were ‘realistic, posable, and life-sized’. McMullen received much criticism about the anatomical correctness of his mannequins; using this as motivation to create a more enhanced version. In 2009, McMullen switched to using platinum material, instead of tin-cure silicon, to further enhance the durability and lifelike nature of the doll. Consequently, all other sex doll manufacturers have followed suit. Many manufacturers, including McMullen, believed that companionship is a critical part of the sex bot dynamic and that incorporating AI into them is the next step.  As of 2018, various new models have been constructed to hold conversations, remember important facts, and express various emotions. One such model is "Harmony", created by Matt McMullen, which is customizable by using a mobile app, where users can choose from "thousands of possible combinations of looks, clothes, personalities and voices to make your perfect companion".

Predictions.

In 2014, David Levy, the chess champion and author of "Love and Sex with Robots" said in an interview with "Newsweek" that "I believe that loving sex robots will be a great boon to society... There are millions of people out there who, for one reason or another, cannot establish good relationships." He estimates that this will take place by the mid-21st century.  In 2017, MIT Press published the first book on this topic, "Robot Sex", with a preliminary approach to the several challenges this field represent for human beings and societies. A short review of this book (in Spanish), can be found here.

Realization.

There are ongoing attempts to make sex dolls socially interactive. In 2010, a sex doll called Roxxxy that had the capacity to play back pre-recorded speech cues was demonstrated at a trade show. In 2015, Matt McMullen, the creator of the RealDoll stated that he intended to create sex dolls with the capacity to hold conversations.  Barcelona based Dr. Sergi Santos developed sex robot Samantha; the robot can switch between a sex setting (which can include Samantha simulating an orgasm) and a family mode. It can also can tell jokes and discuss philosophy.  In 2017, Matt McMullen created a sex doll called "Harmony" which has the capability of learning about the preferences, wants, and desires of the owner. Furthermore, Harmony can smile, blink and frown in a nearly humanlike fashion. She can hold a conversation with you, tell jokes, remember your food preferences, and the names of your siblings. The cost of Harmony is said to be roughly $15,000. During an onstage interview with Engadget in 2018, Matt McMullen demonstrated that the skin on Harmony's face could be peeled off and replaced with different skin. He subsequently added a different colored wig and changed her personality by using the app on his handheld device that controls the robot. He named this sex doll ‘Solana’ and considers it to be the sister of Harmony.

Opposition.

In September 2015, Kathleen Richardson of De Montfort University and Erik Billing of the University of Skövde created the "", calling for a ban on the creation of anthropomorphic sex robots. Richardson is critical of Levy and argues that the introduction of such devices would be socially harmful, and demeaning to women and children.  In September 2015, the Japanese company SoftBank, the makers of the "Pepper" robot, included a ban on robot sex. The robot's user agreement states: "The policy owner must not perform any sexual act or other indecent behaviour".  Noel Sharkey Aimee van Wynsberghe and Eleanor Hancock of the Foundation for Responsible Robotics released a consultation report presenting a summary of the issues and various opinions about what could be society's intimate association with robots. The report includes an examination of how such robots could be employed as a sexual therapy tool for rapists or paedophiles. Sharkey warns that this could be "problematic" in terms of sex dolls resembling children.  There is considerable speculation about this technology coming from experts in the fields of philosophy, sociology, and the natural sciences. Scholars such as Chandrshekhar Shrivastava believe that sex robots will facilitate "social isolation" and that sexual relations with robots will "desensitize humans to intimacy and empathy". Furthermore, according to Chauntelle Tibbals, "Nothing can replace the joy, sorrow, passion, and pain of an actual, unpredictable human interaction." Kathleen Richardson, the director of the campaign against sex robots, firmly believes that we should "start cultivating better relations between each other and leave sex robots to the dustbin of bad ideas". She further argues that only when interacting with another human can we experience our humanity and our identity, as opposed to interacting with a robot.  The sex robots that have been created, as of 2018, primarily resemble women with exaggerated characteristics. Kathleen Richardson argues that these sex robots facilitate a powerful attitude towards women's bodies as commodities, and promote a non-empathetic interaction. Experts argue that improving the gender diversity of those involved in developing this sex technology could help reduce possible harm, such as the objectification of women. In Barcelona, a sex doll brothel allows men to act out their fantasies where they can choose from a selection of flexible silicone dolls and request that they be dressed in whatever outfit the man prefers.  Many scholars, including Richardson, argue that this "reinforces the idea that women are property", rather than human beings with free will. Scholars such as Robert Sparrow argue that the creation of realistic female sex robots, with the ability to refuse consent, further facilitates a rape culture. He believes that sex with these robots represents the "rape of a woman" and may increase the rate of rape in society, while also facilitating a general "disrespect for women" in society. Furthermore, a sex robot called "Frigid Farah", whose personality is described as "reserved and shy", has caught the attention of several scholars. The manufacturer claimed that if "you touched her in a private area, more than likely, she will not be too appreciative of your advance". Many scholars view this as indulging rape fantasies and facilitating a rape culture.

Legislation.

The Curbing Realistic Exploitative Electronic Pedophilic Robots (CREEPER) Act, sponsored by Daniel M. Donovan, Jr., was passed by the U.S. House of Representatives on 13 June 2018. The bill would amend the federal obscenity statute, to criminalize importation and transportation for interstate commerce any "anatomically-correct doll, mannequin, or robot, with the features of, or with features that resemble those of, a minor, intended for use in sexual acts." Bob Goodlatte stated that "these dolls create a real risk of reinforcing pedophilic behavior and they desensitize the user causing him to engage in sicker and sicker behavior". Australia and the United Kingdom already have such bans.

Potential benefits.

Proponents of sex robots believe that sex robots have the potential to provide a valuable service for people who are elderly or disabled and provide them with emotional support say, for example, when the spouse of an elderly person dies. Furthermore, scholars such as Hojjat Abdollahi argue that these robots can act as "robot companions" that aid elderly people with dementia or depression. After conducting a study on many elderly patients, it was found that elderly individuals were interested in having a robot as their companion and their interest did not decay over time. He further explains that these patients established meaningful rapport with the robot companion and that they greatly valued the presence of the robot. The robot companion ‘Paro’, created by Takanori Shibata, has been used since 2009 as a therapeutic machine for the elderly suffering with dementia as well as those suffering from depression and anxiety. Paro is designed to respond to touch, remember faces, and learn certain actions that promote a favorable reaction in the patient. Although Paro was not designed to be a sex robot specifically, Paro is an example of how intelligent machines could become a suitable therapeutic option. "Some manufacturers have also argued that their introductions into prisons may reduce prison rape and sexual tension in prison. They have also suggested they may alleviate sexlessness in encumbered professions such as long-haul truck drivers or all-male oil rigs.

Philosophical discussion.

The "First International Congress on Love and Sex with Robots" was held in Funchal, Madeira in November 2014. The conference was coordinated by Professor Adrian Cheok and Dr. David Levy. The main discussion revolved around the debate of where we draw the line with regard to cyber love and relationships and what the future of love and sex with robots has in store. Additional topics of discussion during the conference included humanoid robots, robot emotions, roboethics, and philosophical approaches. In October 2015 a second conference scheduled for November 2015 in Malaysia was declared illegal by the Malaysian Inspector-General of Police. The second conference was eventually held in December 2016 chaired by Dr. Kate Devlin at Goldsmiths, University of London in the United Kingdom. Devlin also founded the UK's first ever sex tech hackathon, also held in 2016 at Goldsmiths.  In 2016, a discussion of these issues was held at the 12th IFIP TC9 Human Choice & Computers Conference, entitled "Technology and Intimacy: Choice or Coercion?". The conference was coordinated by Dr. David Kreps from Salford University. The overall aim of the conference was to'scrutinize the journey from impersonal monolithic technology towards the intimate intertwining of devices and the self'. A prospective outlook on how these technologies will evolve was closely examined. Some of the main themes discussed during the conference were intimacy, personalization, material culture, and sexual relationships with robots. In September 2018, the 13th IFIP TC9 Human Choice & Computers Conference "This Changes Everything" was held in Poznan, Poland. The conference was led and directed by David Kreps, Kai Kimppa, Louise Leenen, and Charles Ess. The discussion was focused on the societal and ethical implications posed by artificial intelligence, privacy concerns, and how such technologies have significantly shifted computational strategies and altered the world we live in.

In popular culture.

Intimacy with robots, artificial intelligence, and other human-constructed items are saturated in the media landscape. They provoke questions about what love is, why people crave the need for affection, and challenge pre-existing beliefs of what it means to be human.  Originally published in 1886, the novel "Tomorrow's Eve" centers around a fictionalized Edison, who creates a female robot for his lonely patron. While the robot's beauty is apparent, the robot lacks the emotional capabilities to fulfill that hole in his heart.  The film "Ex Machina" questions common notions about consciousness. A sentient robot is created with a violent outcome, rebelling against her creators. Throughout the story, "Ex Machina" appeals to empathize with the robot as a victim of a man with a god complex. Responding to the protagonist's uncertainty about her fate if she does not live up to her creator's standards, the robot, Ava, responds "Why is it up to anyone?" about whether or not she lives. This questions the audience's underlying belief about whether or not a robot is entitled to a free life like other conscious beings.  The film "Lars and the Real Girl" explores the idea of a romantic attachment to artificial human-like items. Ultimately, the film concludes with the protagonist "murdering" his sex doll lover in a river: emphasizing the projection of one's idealized lover onto an inanimate object.

Sex robots or sexbots are hypothetical anthropomorphic robot sex dolls., although elaborately instrumented sex dolls have been created by a number of inventors, no fully functioning sex robots exist. In 2017, the "Harmony" sex doll was created, which can speak and make facial expressions.

性爱机器人(英语:Sex robot、sexbots)是一种机器人性玩偶,其旨在以模拟一名人类性伴侣的方式来满足使用者的性需求。2018年,尽管许多发明家制作了精巧的性爱机器人,但市面上不存在功能齐全的性爱机器人。。


Name.

The indigenous Tlingit people considered the mountain to be sacred. In the Tlingit language, the mountain is called L’ux, which means "to flash" or "blinking," purportedly because the Tlingit people first discovered it while it was smoking or erupting.  On August 16, 1775, Spanish explorer Juan de la Bodega named the mountain Montaña de San Jacinto to honor Saint Hyacinth, whose feast day is celebrated on 17 August. Captain James Cook passed the mountain on May 2, 1778, during his third voyage and named it Mount Edgecumbe, presumably after a hill overlooking Plymouth Harbor, England, or possibly for George, Earl of Edgcumbe. Explorer George Vancouver later adopted the name chosen by Cook, and it came into popular usage.

Ascent.

The first recorded ascent was made in July 1805 by Captain Urey Lisianski of the Imperial Russian Navy. In the 1930s a trail to the top of the mountain was made by the Civilian Conservation Corps as part of a New Deal program to ease the Great Depression.  The Mt. Edgecumbe Trail is roughly, ascending through taiga and muskeg before becoming steep and ending in a barren landscape of snow and red volcanic ash above the treeline, at about, with sign-posts directing hikers toward the crater rim. A three-sided cabin built by the Conservation Corps lies about up trail. The trail can be muddy and wet in places, the last are a steep climb, and bears may be present. The difficulty of the trail is listed as "moderate."

Eruptions.

Eruption hoax.

On April 1, 1974, a local prankster named Oliver "Porky" Bickar ignited 70 old tires in the crater, which he had flown in for an April Fools' Day joke. The dark smoke rising from the crater convinced nearby residents of Sitka, Alaska, that the volcano was erupting. The hoax was soon revealed, as around the rim of the volcano, "April Fool" was spray-painted in letters. "The Guardian" reports that Bickar had been planning the prank for four years, and lists it among the ten best Aprils Fools hoaxes of all time.

Mount Edgecumbe is a dormant volcano located at the southern end of Kruzof Island, Alaska. The volcano is about east of the Queen Charlotte Fault that separates the North American and Pacific Plates, and is the highest point in the Mount Edgecumbe volcanic field, an area of about on Kruzov Island that also includes Crater Ridge and Shell Mountain.

埃奇克姆火山是美国的火山,位于克鲁佐夫岛,由阿拉斯加州负责管辖,海拔高度976米,最近一次火山喷发在公元前2220年左右发生。


Biography.

Early life.

Kim Ung-yong was born on March 8, 1962 in Seoul, South Korea. His father was a physics professor and his mother was a medical professor. By the time he was one year old, Kim had learned both the Korean alphabet and 1,000 Chinese characters by studying the "Thousand Character Classic", a 6th-century Chinese poem. At three years old, he was able to solve calculus problems, and he also published a best-selling book of his essays in English and German, as well as his calligraphy and illustrations. By the age of five, Kim could speak Korean, English, French, German and Japanese. That year, he enrolled at Grant High School in Los Angeles after an article was published about him in "Look" magazine that caught the attention of the school. He also audited a physics class at Hanyang University.

Fuji TV appearance.

At the age of five, Kim appeared on Fuji Television in Japan and shocked the audience by solving differential equations. He appeared on Japanese television again on November 5, when he solved complicated differential and integral calculus problems.

NASA and education.

A popular rumor was that when he was eight years old, Kim allegedly went to study nuclear physics at the University of Colorado, according to popular sources. This, however, has been disputed and disproved from sources at the time. In the time of his college entrance exam's fitness section, where he gained much media attention, his father revealed to reporters that going to Japan to shoot the Fuji TV show was the "one and only time he went out of the country", and that the information of his Ph.D and master's degree progress in the States was "journalistic nonsense". His statement that Kim did not leave at all is slightly detracted by the statement of Kim's mother, who stated that while he did "leave for a short moment to audit classes at the University of Colorado", he was returned immediately due to their facilities being "inadequate for the [Kim]'s genius", who was then homeschooled until his college entrance exam. While the specifics may be blurred, it is clear that the evidence is in favor of his attendance to the University of Colorado being a misconstrued rumor. He went to work for NASA, where he worked for ten years. In 2010, Kim said of his years at NASA, "At that time, I led my life like a machine―I woke up, solved the daily assigned equation, ate, slept, and so forth. I really didn't know what I was doing, and I was lonely and had no friends."  Upon returning to South Korea, Kim was required to formally complete South Korean schooling in order to get a job. He earned his elementary, middle, and high school degrees in just two years. He later enrolled in Chungbuk National University where he studied civil engineering and earned a Ph.D.

Adulthood.

, he served as adjunct faculty at Chungbuk National University. On March 14, 2014, he became associate professor in Shinhan University, and became vice president of North Kyeong-gi Development Research Center.  In 2010, Kim criticized the idea that he is a "failed genius" and additionally said, "Some think people with a high IQ can be omnipotent, but that's not true. Look at me, I don't have musical talent, nor am I excelling in sports. [...] Society should not judge anyone with unilateral standards – everyone has different learning levels, hopes, talents, and dreams and we should respect that."

IQ.

At age four, according to Kim's claim, he scored IQ 200 on a child IQ test normally given to seven-year-old.

Kim Ung-Yong (Hangul: 김웅용; born March 8, 1962) is a South Korean professor and former child prodigy, who once held the Guinness World Record for highest IQ, at a score of 230+.

金雄镕(、汉字也被写为金恩荣、1962年-3月8日),是出身于韩国的“神童”。他在史丹福-比奈智力测验中的分数达到了210分。


2019年欧洲议会选举 (西班牙)

Electoral system.

The 54 members of the European Parliament allocated to Spain as per the Treaty of Lisbon were elected using the D'Hondt method and a closed list proportional representation, with no threshold being applied in order to be entitled to enter seat distribution. Seats were allocated to a single multi-member constituency comprising the entire national territory. Voting was on the basis of universal suffrage, which comprised all nationals and resident non-national European citizens over eighteen and in full enjoyment of their political rights. Additionally, Spaniards abroad were required to apply for voting before being permitted to vote, a system known as "begged" or expat vote (). The use of the D'Hondt method might result in an effective threshold depending on the district magnitude.

Parties and candidates.

The electoral law allowed for parties and federations registered in the interior ministry, coalitions and groupings of electors to present lists of candidates. Parties and federations intending to form a coalition ahead of an election were required to inform the relevant Electoral Commission within ten days of the election call. In order to be entitled to run, parties, federations, coalitions and groupings of electors needed to secure the signature of at least 15,000 registered electors; this requirement could be lifted and replaced through the signature of at least 50 elected officials—deputies, senators, MEPs or members from the legislative assemblies of autonomous communities or from local city councils. Electors and elected officials were disallowed from signing for more than one list of candidates.  Below is a list of the main parties and electoral alliances which contested the election:

Opinion polls.

The table below lists voting intention estimates in reverse chronological order, showing the most recent first and using the dates when the survey fieldwork was done, as opposed to the date of publication. Where the fieldwork dates are unknown, the date of publication is given instead. The highest percentage figure in each polling survey is displayed with its background shaded in the leading party's colour. If a tie ensues, this is applied to the figures with the highest percentages. The "Lead" column on the right shows the percentage-point difference between the parties with the highest percentages in a given poll. When available, seat projections are also displayed below the voting estimates in a smaller font.

Results.

Elected legislators.

The following table lists the elected legislators:

The 2019 European Parliament election in Spain was held on Sunday, 26 May 2019, as part of the EU-wide election to elect the 9th European Parliament. All 54 seats allocated to Spain as per the Treaty of Lisbon were up for election. Once the United Kingdom is effectively out of the European Union in a legal basis as a result of Brexit, 5 additional seats would be allocated to Spain. The election was held simultaneously with regional elections in twelve autonomous communities and local elections all throughout Spain.

2019年西班牙欧洲议会选举在2019年5月26日举行,而市政选举、地方选举也在同日举行。


Gameplay.

"Tajemnica Statuetki" is shown from a first person perspective. It is a point-and-click adventure game that consists of a series of photographic images, although most information is communicated with text. The game is divided into three chapters, each of which takes place in a different location.  Players solve puzzles and interact with characters to progress through the story. The menu offers six different actions, equipment, and a map. The player uses the action commands in a manner similar to LucasArts adventures. The player completes actions by clicking a command button then either an inventory item or a part of the room screen.  Often, progression through the game requires the player to locate objects the size of a single pixel on the monitor; this is known as pixel hunting. The game's puzzles call on the player's knowledge of varying fields, such as cocktail recipes; the player is, for example, tasked with ordering a drink of the correct composition for a tourist.

Plot.

When religious artifacts from around the world, often with insignificant market value, start to disappear, Interpol realises it is not the work of a dishonest collector. Clues lead suspicion to fall upon commando and former CIA agent Joachim Wadner, who appears unhelpful but intelligent. To catch the thief, Interpol chooses their best trainee, protagonist and playable character John Pollack, a young American of Polish descent. Pollack has unlimited funds at his disposal, complete a Rubik's Cube in under three minutes, and can kill with his bare hands. He takes his gadget briefcase, boards a submarine, and sails to the Pacific Ocean.  Pollack follows Wadner to San Ambrosio, an island off the coast of Chile. He completes a reconnaissance mission at a cafe by working there for weeks to complete trained movements like placing a napkin on a counter. During this time, the cafe changes ownership but there is no progress on the case. Pollack interrogates a bartender, who says Wadner has recently been there. Players can choose to mix a range of cocktails for Pollack. Wadner visits a beach and watches three young girls, none of whom pay any attention to him. At one point, the player is captured and tasked with escaping from a cell, a task that requires the splitting of doors, their frames and handles, the use of electricity to paralyse a guard, and to counteract throat dryness caused by drinking from a puddle. From this point on, the quest continues through cities and tourist centers, and the crime eventually takes on a satanic, occult feel.

Development.

"Tajemnica Statuetki" was conceived by Adrian Chmielarz. Sometime during the 1990s, he figured out that the time was right for him to create the first Polish adventure game. He "and a few friends hatched a plan to take photographs from his vacation to France and turn them into a video game". The group realised they could service the untapped Polish software market, where many people had PCs but were unable to become immersed in adventure games because they did not understand English. Chmielarz was not worried about the Polish gaming market being small because the market had already been tapped by developer X-Land and realised the market had potential, noting the number of people who attended conventions. This project evolved into "Tajemnica Statuetki".  The game was conceived by Chmielarz after he visited Côte d'Azur, photographing the area and building a plot around his experiences. He and his high school friends, Grzegorz Miechowski and Andrzej Michalak, collaborated on the game. Chmielarz took on a directing-scriptwriting role and set the creative tone.  According to Miechowski, until March 1993, Chmielarz wrote sixteen hours daily for the game. Miechowski dealt with business stakeholders and marketing while Michalak applied physiognomy to the production. Miechowski and his brother were responsible for sales and logistics; they collaborated with computer companies Optimus and JTT. Miechowski and Michalak financed the project by selling computers. Marcin M. Drews, who took some of the photographs for the game, is often mistaken for the game's creator.

Design.

While "Tajemnica Statuetki" was initially supposed to have hand-drawn graphics, during development the game was altered to instead use digitised photographs as static screen backgrounds. Up until that point, graphic designers had spent many hours on concept art and storyboards. This was atypical for the industry at the time, where it was the norm to see moving protagonists and diverse locations on the screen. The choice resulted in a game consisting entirely of photographic material, which had to be properly rendered so the game could fit onto no more than two floppy disks. This was necessary to minimise its cost to consumers to the point at which they would be willing to legally buy it. The developers also cut costs by opting to include photos instead of having animated video sequences. According to Chmielarz, "we were indie before it was cool, so to speak". According to Antyweb, the game's development was successful despite a shoestring budget, noting Chmielarz' "initiative" of using "home-made methods" when he did not have access to multiple Elwro and IMB XT computers. During development, he was living in Wroclaw.  The game was written entirely in Assembler, had a one megabyte source text, and contained 2,000 loops, altogether around 30,000 commands. The title, typical of point-and-click adventures, requires the player to control the main character with a mouse. Photographs in the game were taken at the Côte d'Azur, Saint Tropez, Monte Carlo, Nice and the abandoned Calvinist church and cemetery in Jędrzychowice, Strzelin. The team went to these locations specifically for the game, where they took as many photographs as possible.  The game's soundscape includes effects such as closing doors and glasses being wiped. Chmielarz inserted references to mass culture, for instance James Bond. To make the game more appealing, the developers added a skill-based section that players could skip if they wanted to. The final segment of "Tajemnica Statuetki" has a sense of fun that emulates the lighter sides of the game's production; it is a "mix of horror and thriller" according to OnlySP, and mix of sensation, humour, and occultism according to Chmielarz. A "youthful fantasy" can be observed during a meeting with the main opponent, performing a magical ritual in a fiery circle made of birthday candles. According to Miechowski, the game was made with the motto "Teach with fun, play with learning", and this educational slant was acknowledged by "Nie tylko Wiedźmin", which said the game is responsible for its players, decades later, knowing how to make good cocktails as the result of its in-game puzzle.  Chmielarz's design philosophy was to create a game similar to those released in the West; according to "Komputers Wait", at the time of the game's development, the Polish computer industry was five years behind that of the West, and Polish titles were generally clones of then-popular Western video games. "Tajemnica Statuetki" is comparable to late 1980s adventure games. "Secret Service" agreed, saying the game visually resembles point-and-click adventure "Countdown" (1990) and interactive fiction adventure "Amazon" (1984) due to their similar menu systems and use of digitized images. Many critics acknowledged the limitations of the game in terms of the size of the country's video gaming industry at the time. One magazine reminded its readers not to make comparisons between the game and the latest titles from adventure gaming giants like Sierra On-Line, LucasArts, Infogrames, and Delphine, due to the "tremendous" gaps in "experience, financial and technological resources, infrastructure, and legal protection" that would gradually close.

Release.

Development of "Tajemnica Statuetki" was finished by February 12, 1993; at the end of that year the game was released onto the market at a price of 231,000 Polish zlotys. During the game's development, the team approached publishers Atlantis Software and Avalon Interactive (then called Virgin Interactive) but were turned down. Chmielarz got IPS Computer Group to distribute and market it but the company agreed to take only 100 copies rather than the 2,000 the creators had offered; as a result, Chmielarz founded his own company to sell the rest of the stock. The name of his publishing company, Metropolis Software, was chosen because "it sounded nice". Founded in 1992 in preparation for the game's release the following year, it became one of the first Polish video game companies after contemporaries such as Computer Adventure, Studio, and X-Land.  Chmielarz boxed the games in packaging he had designed himself. Each box contained two HD floppy disks with the program and extra material. The latter included a copy of the fictional newspaper "Dziennik Metropolis" dated October 1; the articles presented the game's plot and contained anti-piracy safeguard information, self-referential humour and an advertisement for future release "Teenagent", a tiny crossword puzzle, and secret codes for use in the game.  "Tajemnica Statuetki" became the company's premiere title. Metropolis Software posted advertisements throughout industry magazines. One issue of "Secret Service" contained a review that included an interview with the authors, a competition, and an advertisement. Competition entrants could win computer equipment and books. The team also advertised in the press. Geezmo thought the game's commercial success was largely due to a "deliberate, well-thought-out media campaign" that included the sale of CDs attached to a popular magazine.  Sales of the game exceeded the estimates of IPS and the creators' expectations. Chmielarz sold between 4,000 and 6,000 copies by mail at a time when moving just 1,000 or 2,000 units was considered a major achievement. With the profits of the initial sales, Chmielarz was able to run Metropolis Software for two years without financial difficulty.  Western hits had rarely achieved such level of sales. The market was also still dominated by rampant piracy. At a time where democracy and capitalism were being introduced to Poland, and in which The Software Protection Act was coming into effect in 1994, players were not used to paying high amounts for original games. Polish developers had become accustomed to players pirating their games and continued to spend months on titles despite little return. According to Chmielarz, the main reason for this cultural landscape was the commodity exchange he himself came from; he was very critical about pirates, particularly those who had tried to hack his game. Despite being frequently pirated, a sizable number of units were sold legally. "SS-NG" ("Secret Service - Next Generation") puts "Tajemnica Statuetki" success in a piracy-prone market to it being reasonably cheap and comparable in quality to English-language adventure games.

Reception.

Writing and plot.

"Tajemnica Statuetki"'s plot and writing were highly praised; according to "Video Games Around the World", its overall positive reception was mostly due to the strength of its script. "Gry" Online praised the "greatly realized scenario" that held up the narrative while Gra.pl said the best element of the game was its plot and MiastoGier said the game's engaging story outweighs its negatives. GameDot said the title "still surprises with its brilliance in the description of the surroundings and the structure of dialogues (very modeled on LucasArts productions) that bring to mind solid literary material".  "SS-NG" wrote that the Polish language was "professionally implemented" without spelling and stylistic errors and thought the game struck a balance between humour and bleak, horror-filled scenarios. "SS-NG" also said the narrative and gameplay were well thought-out and hold up, and added that the clever mix of humour and drama effectively break the suspense with laugh-out-loud moments. "Secret Service" said the game's strongest asset is use of Polish language, including idiosyncrasies such as noun declensions and references to Polish jokes, stereotypes and culture. According to "Benchmark", the "professional, tense thriller" is highly original and owes much of its success to the period in which it was released, when technological imperfections were compensated for by strong concepts.  According to Orange, players appreciated the intriguing scenario and attention to detail and the game would attract new fans as of 2014. Polygamia said players appreciated the game's engaging scenario, high-class criminal intrigue, and thoughtful production. According to "Dawno temu w grach", the game did not delight but its strength was the execution of its well-constructed and -written scenario, which hold the player in suspense until the end. Bastion Magazynów wrote despite its status as the only Polish-language adventure game, its only draw was its well-constructed plot. According to "Geezmo", the "well-thought-out and moderately addictive storyline" was considered atypical at the time and both a curiosity and a novelty.  Neskazmlekiem said the convoluted description of escaping from the cell, including the passage "spit so long until it dries in your throat", justified the description of Chimielarz as "the greatest Polish sadist in the gaming market". While noting its lack of a complicated plot and well-constructed characters, Polskie Gry Wideo wrote that the game offers hours of entertainment. Valhalla wrote that the plot of 2002's photographic adventure game "A Quiet Weekend in Capri" sounded "even worse" than that of "Tajemnica Statuetki." While noting that the interesting, occult-inspired plot was well received, even outside Poland, the reviewer at Gameplay questioned the point of the titular statuette in the story. "SS-NG" wrote that the game has a great atmosphere.  "Gambler" wrote that the game was a "very successful program" that was somewhat modelled on Sierra's "Quest" series. Gry.impo said the game was twisted, commenting that it burst with atmosphere and cult-oriented puzzles.

Gameplay.

"Tajemnica Statuetki"'s gameplay had a mixed reception from reviewers. Gry Online opined the game is demanding and requires players to have patience and an open mind to find absurd solutions to puzzles. Despite its difficulty, "SS-NG" urged players to stick with it, noting that even today it will provide hours of entertainment. Polygamia wrote that while the game is not technically proficient, it was appreciated by players for its engaging scenario, high-class criminal intrigue, and careful performance. "SS-NG" noted that in a pre-walkthrough age, the game was particularly difficult with aspects such as copy protection revealed in the middle of the game, playing in a games room, and a useful item disguised as part of a building interior. "Secret Service" described the gameplay as being reminiscent of Infocom products, in particular "The Hitchhikers Guide To the Galaxy", noting that players are required to be sharp and perceptive when interacting with found objects, which often must be used in ways contradictory to their original purposes. The reviewer criticised the challenge of locating certain items and learning of the existence of others. Citing examples such as a coin on a beach, a hairpin on a sofa, and a hook on an anchor, "Secret Service" noted that such items were one-pixel size and are not visible on the screen, necessitating pixel hunting with the mouse, "creating unnecessary downtime". Due to this difficulty, the magazine said the developers should have tested the game with regular players before publishing it.  "Polskie Gry Wideo" wrote that the game's interface, which required pixel hunting, does not confirm correct solutions to puzzles, provide hints or a clear purpose of what to do in the world, putting it at odds with other adventure games of the time. They deemed it "a bit frustrating" and less enjoyable as a result. Benchmark noted that looking for details and objects relevant to advancing through the plot requires players to strain their eyes, a sentiment echoed by Orange. "Nie tylko Wiedźmin" noted that even by the standards of the time, the game was considered difficult. Geezmo said the way the game is designed requires players to smack the screen with their mice. While "Secret Service" said "Tajemnica Statuetki" is more modestly constructed that its Western counterparts, it concluded that it was solidly made without lags or having game-breaking bugs. Gry Online argued that the game was less fun and interesting than its successor "Teenagent". "Polskie Gry Wideo" noted the game's "undeveloped game design and numerous unintuitive solutions."

Audiovisual design.

Critics had a mixed response to "Tajemnica Statuetki" audiovisual design. Gry Online said that when the game appeared on the market, "the mere use of digitized photographs was the pinnacle of the achievements of Polish programmers". Michael Zacharzewski of Imperium Gier said that by 1999 standards, the game should be considered an embarrassment in terms of technical quality. MiastoGier wrote that the game had impressive graphics despite its simple design. PB.pl said the game looks "clumsy" today while Interaktywnie noted that it appealed despite its "amateur character". According to Radio Szczecin, by 2014 standards, the game is "unkempt" due to its static photographs, lack of animation and music, and expository subtitles, all of which might "scare off the younger players". It noted, however, that older players should play the game to remind them of what adventure games used to be like.  "SS-NG" said the game's audiovisual content would have seemed lacking compared to Western games even at the time of release, particularly its sound effects and use of digitised photographs. Gry Online noted that while the game was lacking graphically, the use of digitised photographs was considered a milestone in the Polish video game industry at the time. Describing the game as a "strong textbook with pretty images", "Secret Service" expressed disappointment that it did not include music in the introduction or a line-by-line voiceover. "Video Games Around the World" deemed the production values "Spartan" because of the use of digitised photographs, lack of animations and music, and minimal sound effects. "Polskie Gry Wideo" wrote that the game's graphics contrasted with those of its western contemporaries such as "Mystery House" (1980), "Maniac Mansion" (1987), "The Secret of Monkey Island" (1990), and "Indiana Jones and the Fate of Atlantis" (1992).  "SS-NG" said the game's photographic material added an air of authenticity. Bastion Magazynów noted that even at the time of its release, the game did not delight with sound or graphics. Geezmo said the lack of animation and the inaudible soundtrack came across as technical weaknesses. "MiastoGier" noted that the unprecedented use of incredibly photo-realistic graphics caused players astonishment. Chmielarz agreed that the game "technically did not delight". "Secret Service" wrote that they wished the game's creators had made a version that would be compatible with inferior graphics cards. "SS-NG" thought that the game "did not impress with graphics". Exec lamented that the sound was limited to just a few samples and some "very annoying squeaks".

Polishness.

"Video Games Around the World" wrote that reviewers were willing to overlook the shortcomings of "Tajemnica Statuetki" as it was the first Polish adventure for the PC. "SS-NG" noted that because it was only released in Polish, English-speakers were unable to fully enjoy it and that despite its shortcomings it "won the hearts of Polish [and non-Polish] adventure lovers". The site also said it should be played by everyone so they will appreciate one of the first Polish video games. Despite the magazine's reservations, "Secret Service" deemed "Tajemnica Statuetki"a good game, recommending it because of its affordability and accessibility; it also said, "the patriotic duty of all players should be to buy it from the producer and finish it". "SS-NG" called the game a source of national pride, commenting that "anyone who knew our beautiful Slavic language could play it". To the reviewer, the game has a replay-ability unlike other adventure games because it is a piece of their childhood; the writers felt gratitude to the developers for the many hours they used to spend playing it. Aleksy Uchański wrote in "Gambler" that at the time the Polish gaming industry had "2.5 good games of native production (and about ten times more rubbish)", most of which were not influential in the industry's development, calling Metropolis and its early games the worthy exception.  While "Tajemnica Statuetki" was unable to compete with Sierra or LucasArts products, "SS-NG" said it was quite good by Polish standards of the time, writing that the best aspect of the title is that "above all, it was Polish". Despite writing that in the modern age it is difficult to understand how such an average product could have been praised one day, Gameplay wrote that playing "Tajemnica Statuetki" was worthwhile to see what the "global hit of Polish production" once looked like. Polskie Gry Wideo said arguably the most important thing about the game was that information is provided in Polish, deeming it "revolutionary". "SS-NG" said while the game may have been "a bit forgotten" by 2004, that did not detract from its "contribution to the development of the entire domestic industry". In 2014, Radio Szczecin commented that the game had not aged well but was unforgettable because it is a fully Polish production from its artists to its subtitles, with international action. Radio Szczecin also said the title is unforgettable due to its cultural relevance, in the sense that a game with Polish artists and subtitles made a dent on the world stage.

Legacy.

"Tajemnica Statuetki" was followed by the critically acclaimed point-and-click adventure "Teenagent" (1995), which the company eagerly advertised thus: "The creators of "Tajemnica Statuetki" have been silent for over a year. See for yourself why". InnPoland attributes this marketing campaign to the game becoming a "breakthrough". PB.pl said this slogan "grabbed" the public.  As "Teenagent" was the first Polish game to be professionally marketed, Polygamia said, "none of the Polish producers has ever preceded their game with such great marketing efforts", and that this created a media buzz around the game. According to Eurogamer, "the studio was flush with the early successes" of these two games. Among the studio's later work was the satirical adventure game "The Prince and the Coward" (1998), created with the help of the fantasy writer Jacek Piekara. "The Prince and the Coward" completed the trilogy of adventure games that Chmielarz started his game designer career with. Chmielarz thought the title, one of his first three commercially released games, was more convincing than his first ZX Spectrum games. A continuation of the "Tajemnica Statuetki" story, which was to be released on a CD-ROM, was announced. Photographic material for the game was collected but work was suspended and Metropolis Software worked on other projects. As of December 1994, "Secret Service" still expected "Tajemnica Statuetki 2" would be released, most likely in 1995. "Bajty Polskie" noted that even in 2015, players still anticipated a sequel to the game, with a story in which Pollack goes on holiday with a friend to a Polish castle near Masurian Lake and an ambulance takes away his friend.  A personal conflict between Chmielarz and Miechowski led to the former leaving the company around 2002 to form People Can Fly. Metropolis Software was acquired by CD Projekt in 2008 as a subsidiary and became defunct the following year. Miechowski later founded 11 Bit Studios. Metropolis kept the rights to "Tajemnica Statuetki"; these became the property of CD Projekt when they bought the company and they may still own them.  The use of holiday photographs as part of the game's visual language partly inspired People Can Fly developer Wojciech Pazdur to use photogrammetry to help build levels for the first-person shooter "Painkiller". The 2004 adventure game "Ramon's Spell", according to "SS-NG", was modeled on this game. "Tajemnica Statuetki" was Metropolis' first use of special service agents, a trope that would reappear in many of their later games including 2007's "Infernal". Chmielarz, the "Polish Sid Meier" said his 2014 game "The Vanishing of Ethan Carter" saw him return to his adventure gaming roots of the "Tajemnica Statuetki" era, while Gamezilla said the latter title would not have existed without the former.  Adam Juszczak's text "Polski Rynek Gier Wideo – Sytuacja Obecna Oraz Perspektywy Na Przyszłość" noted the "breakthrough" nature of "Tajemnica Statuetki" in a wider context; the Polish gaming market had been delayed because of the socialist system and the lack of widespread access to computers and consoles; as a result it had only begun to develop in the 1980s. The first Polish computer magazine, "Bajtek", was launched in 1985. Around this time, the first Polish games also began to emerge, placing "Tajemnica Statuetki" in the history of Polish entertainment.  Chmielarz's game had a wide impact on the domestic market. InnPoland wrote that it was one of the first Polish games to "enjoy hit status". It became an "undoubted success" and a "loud hit of the AT-era". It stood out significantly against the background of similar adventure games from Mirage, LK Avalon, and ASF, and it was difficult to confuse it with other titles. "Nie tylko Wiedźmin" wrote that IPS' behaviour as a publisher was a "funny... anecdote" due to the unprecedented success of the game. MiastoGier said Metropolis Software's early work was part of the golden age of adventure games after the age of animation sprites and connected frames; the site deemed it an important piece of cultural history for adventure gamers that shows the beginnings of Polish game development and the start of Adrian Chmielarz's career, and describing the game as "legendary."  Onet called "Tajemnica Statuetki" "one of the most important games in the history of virtual entertainment". The game "allowed Metropolis Software" to "gain recognition in the Polish PC world of adventure games admirers". In addition, Onet said the game revolutionised game development in the country and that "for years it marked the direction of the industry". While "Tajemnica Statuetki" is virtually unheard of in the Western world, it was a "great success for the fast-paced Polish audience". "SS-NG" wrote that so much had been written about it that certain points of analysis had become hackneyed.  According to Polygon, "thanks to piracy just about every gamer of a certain age in Poland has played "Mystery of the Statuette"." Part of the reason was a Metropolis Pack containing "Tajemnica Statuetki", "Teenagent", and "Katharsis" put together by pirates and released as shareware. "SS-NG" said the unprofitability in the industry due to piracy necessitated a leap of faith on Chmielarz's part. Polish YouTuber Krzysztof “NRGeek” Micielski asserted that the game's original release marked the first title he ever bought rather than pirated., Chmielarz is considered a "living legend" in the Polish video gaming industry and "one of the most important computer game developers" in the country. Polskie Gry Wideo shrugged off the title's underwhelming aspects as the "first, clumsy steps" at the beginning of Chmielarz's influential career, calling it a "step in the right direction". The history of early Polish video game development, and specifically the creation of "Tajemnica Statuetki", was addressed in the Polish-language book "Nie tylko Wiedźmin: Historia polskich gier komputerowych".  In 2014, "Orange" listed the game as the sixth best Polish game of the 1990s. Logo 24 listed "Tajemnica Statuetki" as one of the "Top 10... most important Polish games", deeming Chmielarz "probably the most known and respected Polish game developer". In 2016, the game was exhibited as part of the Digital Dreamers exhibition at the Palace of Culture and Science Sciences in Warsaw and was listed by Benchmark in their article "Najlepsze polskie gry" ("The best Polish games"). Marcin N. Drews and Chmielarz reunited for a panel at the 2017 Pixel Connect convention, where they spoke about the game. Chmielarz had previously spoken about it on a 2013 panel with other early Polish game developers. The game can be legally played at GOG.com.

Tajemnica Statuetki is a Polish-language adventure game developed and published by Metropolis Software House for DOS-based computers in 1993. While it was never released in English, it is known in the English-speaking world as The Mystery of the Statuette. The game was conceived by a team led by Adrian Chmielarz, who used photographs taken in France as static screens within the game. The first title in the adventure game genre that was produced in Poland, its plot revolves around a fictional Interpol agent named John Pollack trying to solve a mystery associated with the thefts of ancient artifacts around the world.

Tajemnica Statuetki是由Metropolis软件公司为DOS计算机开发和发布的1993年冒险游戏。这是波兰第一个冒险游戏。他的情节围绕着虚构的国际刑警组织代理人约翰·波拉克(John Pollack),他试图解决与世界各地的各种古董盗窃有关的谜团。