Deekay

Deekay is a Danish production and songwriting team founded by Lars Halvor Jensen, Martin Michael Larsson with other members Tim "Data" McEwan, Daniel "Obi" Klein and Johannes "Josh" Jørgensen. The name Deekay comes from the acronym dk, which means Denmark.
Deekay have written and produced for artists like Jason Derulo, Jordin Sparks, Lil Wayne, Diddy, Sugababes, Orianthi, JLS, Tinie Tempah, Jake Zyrus, Allison Iraheta, Method Man, Fat Joe, Styles P, Lemar, Medina, Mietta, Girls' Generation, Red Velvet, Loona, Exo, TVXQ and others.
Selected production/songwriting credits.
Selected releases & recordings written and/or produced fully or in part by DEEKAY
Diddy-Dirty Money feat. Lil Wayne.
From Diddy/Dirty Money album "Last Train to Paris", #7 US Billboard 200 Album Chart
Orianthi.
Title-track on Orianthi's 2nd studio album, which has reached certified Gold status in Japan and Australia.
JLS.
From their UK No. 1 debut album, which sold in excess of 1.300.000 copies in the UK alone (4 x platinum)
From their second album, "Outta This World"
Sugababes.
Title-track on UK #1 album "Change" – the song was a top 3 UK radio airplay hit.
Lemar.
From multi-platinum album "Time To Grow"
1st single from multi-platinum album "The Truth About Love" – No. 2 Official UK Radio Airplay Chart & No. 7 UK Single Sales Chart
Jedward.
Hit No. 1 on the iTunes single chart in Germany, Sweden, Austria and Ireland.
Joe McElderry.
From his debut album, which entered the UK album chart at #3.
Ashley Tisdale.
The first track is included in the credits of the 2009 movie "Aliens in the Attic" and both of them are included in the Tidale's second studio album, "Guilty Pleasure".
Girls' Generation.
Hit no. 1 on all Korean charts 7 minutes after release – 150.000+ pre-orders on "Hoot" album...The song was No. 1 for 5 weeks on the Music Bank K-Chart and won the Triple Crown on the Inkigayo chart in November/December 2010. The Hoot EP achieved 18 x platinum status in Korea and became best song of the year according to Gallup Korea.
The album became the first ever from a foreign girl group to top the Official Japanese Oricon Chart on the release date. The album sold 231,553 copies in the first week, placed first on the Oricon Weekly Album Chart and surpassed the record for first week debut album sales for a foreign artist.
TVXQ.
Hit no. 1 on the Oricon Daily Chart and No. 1 on the Billboard Hot 100 Japan.
From the Rise as God album
Blue.
From the multi-platinum UK No. 1 album Guilty
"Breathe Easy" was the third single from the album and a UK #4. It was an 8-week consecutive No. 1 in Italy and the biggest selling single there in 2004 in front of records like "Yeah", "Toxic" & "Superstar". It was also a hit in the rest of Europe (#7 in Austria & Germany etc.)"
"Bubblin'" was the 4th single from the album and a UK #6. It also became a smash hit all over Europe, top 3 in Italy, top 15 in France, No. 11 Germany etc.


Naoki Yoshida

, also known by the nickname "Yoshi-P," is a Japanese video game producer, director and designer working for Square Enix. He is known primarily for his work on massively multiplayer online role-playing games (MMORPGs), as chief planner on "Dragon Quest X" and as director and producer of "." He is also currently working as producer for the upcoming "Final Fantasy XVI". He is credited with rescuing the original "Final Fantasy XIV" project from its disastrous launch. Yoshida is an Executive Officer at Square Enix, the Head of Square Enix's Creative Business Unit III and part of the "Final Fantasy" Committee that is tasked with keeping the franchise's releases and content consistent.
Early career.
Yoshida joined the video game industry in 1993 and started his career at Hudson Soft, where he was assigned to the creation of PC Engine games at first. Later, he participated as scenario writer in the "Far East of Eden" series and as game designer in the "Bomberman" series. After he left Hudson Soft, he worked at several smaller game studios for five years.
Career at Square Enix.
One of Yoshida's favorite games is directed by Yasumi Matsuno, who worked at Square Enix at the time and went on to create games such as Final Fantasy Tactics, Vagrant Story and Final Fantasy XII. Tactics Ogre had made such an impact on him that he built his career in order to have the opportunity to work with Matsuno and create a game together. Yoshida eventually joined Square Enix in 2004, but Matsuno left the company soon after. He became the head of the "" series as well as a game designer of "Dragon Quest X" in its early stages.
In December 2010, he was taken off the "Dragon Quest" team and placed in charge of the staff that developed the massively multiplayer online role-playing game (MMORPG) "Final Fantasy XIV", which had been unsuccessful since its launch several months before. Then company president Yoichi Wada attributed this decision to Yoshida's experience, "charismatic" leadership skills and "passionate" will to satisfy customers. Yoshida was not acquainted with any of the "Final Fantasy XIV" team's members and thus had to demonstrate his dedication to the project first to gain their trust as director. He then talked with the individual developers to find out their ideas for improvements to the revised version known as '. He proceeded with describing to the team the precise goals to achieve. Yoshida drew some inspiration from his long-lasting enthusiasm for MMORPGs, having played such titles as "Ultima Online", "EverQuest", "Dark Age of Camelot", "World of Warcraft", "Warhammer Online", "Rift", ' and "Guild Wars 2". As a result of his direction, reviewers and commentators have credited Yoshida with "rescuing" the "Final Fantasy XIV" project. He went on to work with Matsuno in creating the Return to Ivalice raid for , saying he "was able to fulfill [his] dream to work with Matsuno-san".
Between December 2013 and December 2019, Yoshida wrote a regular column for "Famitsu" titled , discussing his thoughts on "Final Fantasy XIV", video games, the game industry, and game development in general. It has been collected into three published volumes. Yoshida ended the column in December 2019 due to lack of time to write it.
In September 2020, "Final Fantasy XVI" was revealed to be in development for PlayStation 5 with Yoshida serving as producer.


Peter Rose and Anne Conlon

Peter Anthony Rose MBE (music) and Anne Conlon MBE (words) are British writers best known for their environmental musicals for children. They were both teachers in Lancashire, England, for the majority of their creative achievements and most of their works have been written specially for St Augustine's RC High School, Billington. At the time Peter Rose was their head of music.
Notable works.
Rose and Conlon's first collaboration was "The Conversion Job" (1980–1); a currently unpublished musical which told the story of Augustine and his monks as they tried to convert Britain to Christianity. This was first performed at St Augustine's RC High School. Their second collaboration was the choral piece "The Kestrel Song" (1982), which was later published by their publishers Josef Weinberger (1995). This piece describes
"the thoughts of a kestrel as it hovers above the motorway… From the safety of the sky, the Kestrel watches "all the madness of these men rushing blindly onwards". The fog descends, but the traffic rushes on, until the inevitable disaster happens1"
"The Kestrel Song" won them the "1982 BBC Pebble Mill – WWF Sounds Natural" competition, which brought the writers to the attention of Ivan Hattingh, Head of Development at WWF-UK at the time. Shortly after this, Ivan Hattingh called the writers and asked them to write an extended musical, similar to "The Kestrel Song", but about the Amazon Rainforest. Although it seemed an impossible task, they accepted and penned the first half of "Yanomamo" (1983), which described the beauties of the Amazon rainforest. By the second half, which contrasts the lighter first, the writers explore the human problems that existed in the Amazon basin at the time, and ask strong questions about western attitudes to tribal societies and our role in protecting such important and sensitive natural balances.
"Yanomamo" is a 90-minute work for chorus, soloists, narrator and stage band, and the original production, performed by the choir and musicians of St Augustine's RC High School, was narrated by Sir David Attenborough and premiered at the Royal Institute, London, before appearing at the Edinburgh Festival. They later performed "Yanomamo" in America, narrated by Sting, which production was recorded for television and later broadcast (on Easter Sunday, 1989) on Channel 4 under the title of "Song of the Forest". The TV version was commercially released by WWF. Since its publication the musical has seen performances by thousands of children throughout the world. This interest was also helped by the inclusion of "Yanomamo" as part of the BBC Radio Music Workshop series for schools (1991), including a short dramatic script specially written for the series by Conlon. After the TV adaption was broadcast, the school was officially recognised when two of the young soloists were presented to the Duke of Edinburgh and presented with the Ford European Conservation Award in the Royal Opera House, Covent Garden.
Rose and Conlon's next collaboration was in 1985 with "Daughters of Pendle". This fully dramatic musical explores 16th-century witchcraft in Lancashire, and was first performed by St Augustine's RC High School. The show is currently unpublished.
After the highly successful "Yanomamo", Ivan Hattingh commissioned Rose and Conlon to write another musical, outlining the severe problems of migration from the countryside to the cities in developing countries. "African Jigsaw" (1986) was written and first performed by the choir and musicians of St Augustine's RC High School at the Barbican Concert Hall, London, narrated by actress Mary Miller and winning a Henry Ford Conservation Award2. "African Jigsaw" was also performed by the school at the Royal Festival Hall in 1987, this time with Sir Charles Groves and the Philharmonic Orchestra at a Royal Gala charity performance for the homeless. Again, this musical is a 90-minute work for chorus, soloists, narrator and stage band. "African Jigsaw" was later transmitted as a Splash Special by ITV in 1987, and also part of the ITV Middle English series. Conlon's narration explores the thoughts of one central character; an African mother who has stayed in the countryside whilst her son has started a new life for himself in the city.
Three years later saw their third WWF commission, "Ocean World" (1990). This time they focused on the problems that threaten the existence of the sea. "Ocean World" tells the story of a female humpback whale as she journeys to her northern feeding grounds. We are with her at the birth to her first calf, and along her journey we meet other creatures of the deep who have their own problems to contend with. Ocean World premiered at the Royal Festival Hall by the choir and musicians of St Augustine's RC High School and was narrated by Sir David Attenborough. A television version, currently available from WWF-UK, was made and transmitted in 1991 as part of Channel 4's "Fragile Earth" series. The work follows the same pattern as their previous WWF commissions, and is a 90-minute work for chorus, soloists, narrator and stage band.
Rose and Conlon are also known for writing work with a Christian message. In 1987, they were commissioned to write a Harvest Festival Anthem, "Care for your World", which was performed on BBC's "Songs of Praise". Two years later, in March 1989 their hymns were featured in "The Daily Service" on BBC Radio 4.
Rose and Conlon did not collaborate after this until 1996, with the publication of their hymn book "Hymns for a Caring World", and their fourth WWF-UK commission "Arabica", inspired by a conference Conlon attended about world economics. "Arabica" is a musical about the coffee industry and the people involved in the growing, producing and selling of it. This was premiered at the Queen Elizabeth Hall, London, by the choir and musicians of St Augustine's RC High School with narration by actor Burt Caesar. "Arabica" is arguably the most musically complex of their shows, and most controversial, and has never been broadcast.
There was question whether they would write another large-scale musical after "Arabica", but in 2000 they wrote "Song of Creation" to celebrate the millennium. "Song of Creation", unlike their WWF musicals, was written for the catholic charity CAFOD, and premiered at the Royal Festival Hall, London. However, they kept their regular blueprint of writing for chorus, soloists, narrator and stage band. The original production of "Song of Creation" was narrated by Mary Miller, who also narrated their "African Jigsaw" in 1986.
By contrast to their WWF musicals, "Song of Creation" has no story as such, yet explores the wonders of creation and of human initiative, at the same time addressing the question of human responsibility for this human drive. Effectively, Rose and Conlon's latest work completes their cycle of environmental musicals by exploring the whole of the world in which we live; the natural balances that occur (which are also explored particularly in "Yanomamo" with regards to the rainforest), and the linking together of Western and Developing cultures (which is a theme that runs throughout their work, especially in "African Jigsaw").
Two new works by Rose and Conlon premiered in 2009. The first, commissioned by Children's International Voices of Enfield, is a smaller piece, "Caledonian Shadows", and was performed in London on Sunday 15 March. The second work is a full-length WWF-Commission, "One Sun, One World" and was performed at the Royal Albert Hall at the end of the year.
They were both appointed Member of the Order of the British Empire (MBE) in the 2016 New Year Honours for services to musical education and conservation.


Dwarak Warrier

Hareendranath Dwarak Warrier (Malayalam:ഹരീന്ദ്രനാഥ് ദ്വാരക് വാര്യർ ), better known as Dwarak Warrier is an Indian Sound Designer and Sound Mixer. He has worked in Hindi, Malayalam, and French cinemas.
Biography.
Dwarak Warrier, who hails from Thiruvananthapuram, is a 1992 graduate from Film and Television Institute of India, Pune. He is known for his association with director Ram Gopal Varma. He is currently working as Content Services Engineer at Dolby Laboratories.
Awards.
Filmfare Awards
Screen Awards
Zee Cine Awards
Bollywood Movie Awards
Indian Documentary Producer’s Association Awards
Sansui Viewer’s Choice Movie Awards
Star Guild Awards


Lady Melissa Percy

Lady Melissa Jane Trafelet (née Percy, formerly van Straubenzee; born 20 May 1987) is an English fashion designer and former professional tennis player.
Early life and education.
Lady Melissa is the daughter of Ralph Percy, 12th Duke of Northumberland, and the former Jane Richard. She is the younger sister of Lady Katie Percy and George Percy, Earl Percy, and the elder sister of Lord Max Percy. Lady Melissa grew up at Alnwick Castle in Northumberland. She attended Millfield, but left school when she was fourteen years old to pursue a professional tennis career, moving to the United States to attend a tennis academy. Later she completed a course at Prue Leith's cookery school.
Career.
Tennis.
After graduating from the Cliff Drysdale Tennis Academy in the United States, she played professionally for a few years on the Women's Tennis Association circuit. When she was twenty one years old, she retired and moved back to England, coaching tennis at the Harbour Club and the Queen's Club.
Fashion.
In 2016 Lady Melissa started her own women's clothing brand, "Mistamina", which was incorporated in November of that year. The brand, which specialises in country living, athletic-ware, and outdoor-ware for riding, shooting, and hunting, was launched in September 2017. The brand has two collections. The second collection was launched in the summer of 2018.
Personal life.
Lady Melissa married Thomas van Straubenzee at St Michael's Church, Alnwick, on 22 June 2013. In 2014 the couple were subjects of a painting by Christian Furr. They divorced in March 2016 on the grounds of van Straubenzee's "unreasonable behaviour".
Lady Melissa begun dating millionaire financier Remy White Trafelet in 2016.
They married at Mercer Mill Plantation in Oakfield, Georgia, on 19 December 2019. On 19 February 2020 she gave birth to a daughter, named Bluebell Rose Trafelet.


Supratik Chakraborty

Supratik Chakraborty is an Indian computer scientist. He is a Professor in the Department of Computer Science and Engineering at Indian Institute of Technology Bombay.
Supratik completed his undergraduate in Computer Science and Engineering from Indian Institute of Technology Kharagpur in 1993, where he was awarded the President of India Gold Medal. Subsequently, he completed his M.S. and Ph.D. in Electrical Engineering from Stanford University in 1995 and 1998 respectively, working on the design polynomial time approximate algorithms for timing analysis of asynchronous systems. He worked for a year in the Advanced CAD Research group at Fujitsu Laboratories of America before joining Indian Institute of Technology Bombay in 1999.
His current areas of research include both theoretical and practical aspects of formal methods, including formal verification of software and hardware systems, constrained counting and sampling and their applications, automata theory, logic, and systems biology. In the past, he has also worked on the design and analysis of asynchronous systems and on cellular automata in the past.
He is an elected fellow of Indian National Academy of Engineering.


Charles Knode

Charles Knode is a costume designer. He studied at Wimbledon School of Art.
Biography.
Knode designed the costumes for the 1972 epic BBC drama of Leo Tolstoy's "War and Peace" which starred amongst others, Anthony Hopkins as Pierre Bezukhov. Among his first jobs on leaving the BBC was on Monty Python's "Life of Brian". He has appeared as an extra in many of the Monty Python films. He has won 2 BAFTA Awards. The first for the Ridley Scott film "Blade Runner" and the second for "Braveheart". His designs have also appeared in a number of music videos starring Kate Bush . In 1996, In addition to winning the BAFTA award he was nominated for an Oscar for his work on the acclaimed Mel Gibson epic "Braveheart". He won an Emmy Award for Alice in Wonderland
in 1999. He has designed many costumes for the Hallmark Channel, Including "Snow White" starring Sigourney Weaver and "Dinotopia".
Sharon Krossa notes that Braveheart contains numerous historical errors, beginning with the wearing of belted plaid by Wallace and his men. In that period "no Scots ... wore belted plaids (let alone kilts of any kind)." Moreover, when Highlanders finally did begin wearing the belted plaid, it was not "in the rather bizarre style depicted in the film." She compares the inaccuracy to "a film about Colonial America showing the colonial men wearing 20th century business suits, but with the jackets worn back-to-front instead of the right way around." "The events aren't accurate, the dates aren't accurate, the characters aren't accurate, the names aren't accurate, the clothes aren't accurate—in short, just about nothing is accurate." The belted plaid (feileadh mór léine) was not introduced until the 16th century. Peter Traquair has referred to Wallace's "farcical representation as a wild and hairy highlander painted with woad (1,000 years too late) running amok in a tartan kilt (500 years too early)."


Kimberly Goldson

Kimberly Goldson is an American fashion designer and former finalist on "Project Runway". She is also the founder of her namesake fashion line, Kimberly Goldson, exhibiting at shows such as New York Fashion Week.
Early life and education.
Goldson was born and raised in Brooklyn, New York. She was inspired by fashion at an early age and attended Fashion Institute of Technology where she studied fashion merchandising.
Career.
Goldson started her career as a fashion designer by creating custom garments for private clients.
Goldson has been a contestant on the "Project Runway" reality television show, including "Project Runway All Stars". She tried out for Season 6 of the show but was told she needed more experience. She returned three years later and was a finalist in Season 9. In Season 6 of Project Runway All Stars, she was eliminated in episode 7.
Goldson was one of the creators of LeBron James' women's shoe known as "The Strongest" campaign. It was his 16th Nike shoe release and designed exclusively by women for women. Nike used three African American women designers, Goldson , Fe Noel and Undra Duncan, who were handpicked by multicultural designer platform, Harlem’s Fashion Row for the project.
Goldson is the founder of her own fashion brand, "Kimberly Goldson". She has exhibited at shows such as Mercedes-Benz Fashion Week and Harlem's Fashion Row during New York Fashion Week.


Classic Style Magazine

Classic Style Magazine was a short-lived quarterly men's magazine, first published in early 2007, and folded in 2008, after five issues. The magazine was owned and operated by Michael Key, through his Key Publishing Group.
Creators.
Michael Key
Matt Deckard


Steve Reeves (computer scientist)

Steve Reeves is a computer scientist based at the University of Waikato in New Zealand. He is the Associate Dean and the Programme Co-ordinator of Software Engineering. He has undertaken research work on the Z notation, formal methods for GUI design and a general theory of refinement.
Steve Reeves' academic work is in the area of formal methods to aid software engineering. In particular, he has undertaken research into the design and use of logics for specification. With Prof. Martin Henson, he has studied the formal semantics of the Z notation in detail, in relation to the international ISO standard for Z.
He has recently started work (initially with colleagues from Data61) on uses for blockchain. He has had a seed grant awarded by the New Zealand Science for Technological Innovation fund SfTI.
Reeves has delivered talks internationally, including as the opening talk in the BCS-FACS seminar series at the British Computer Society in London in 2005.
Steve Reeves is currently Chair of the Z User Group, and the New Zealand member of the Australasian Software Engineering Conference (ASWEC) Steering Committee and the Asia-Pacific Software Engineering Conference (APSEC), held at Waikato in December 2016 .
He is a Fellow of the British Computer Society, a Fellow of the Institute of IT Professionals (formerly the New Zealand Computer Society), and is a Chartered IT Professional (CITPNZ).
Reeves has published a number of academic papers.


Isamu Kamikokuryo

 is a Japanese video game artist who worked at Square Enix until his resignation on March 31, 2017. He is known for his work on the company's role-playing video game series "Final Fantasy", for which he designed locations and characters. Among others, he was involved in the "Ivalice Alliance" and "Fabula Nova Crystallis" franchises.
Kamikokuryo had initially planned to become an oil painter and illustrator but was inspired to join the video game industry by the release of "Final Fantasy VII". His influences as an artist include realist painter Andrew Wyeth and photojournalist Steve McCurry. Kamikokuryo draws inspiration from his photography hobby and world travels.
Biography and career.
Kamikokuryo was born on July 31, 1970. He originally aspired to become an oil painter and illustrator, but his hobby of playing video games had him interested in their emerging industry early on. With the increasing use of 3D computer graphics and the release of "Final Fantasy VII" for the PlayStation console, Kamikokuryo began to study design. After about three years, he applied at Square with a resume containing a photographed oil painting of his and was hired by the company in 1999.
Kamikokuryo started working at the company back in 1999, beginning with concept art for Final Fantasy X. Kamikokuryo's first assignment was directing the background art for "Final Fantasy X". In July 2001, he joined the "Final Fantasy XII" project team and took a high fantasy approach to creating the game's fictional world. Kamikokuryo designed large cities with varied architectural styles as he wanted to convey the feeling of walking through a real-life metropolis. His early illustrations for the game were based heavily on the concept of floating continents but could not be fully realized during development. However, they eventually wound up as the principal setting for the Nintendo DS sequel "" whose art was also supervised by Kamikokuryo.
For "Final Fantasy XIII", he again assumed the role of art director. Kamikokuryo and his team spent almost one year on pre-production for the game. While he was still working on "Final Fantasy XIII", he was asked to create illustrations for "The 3rd Birthday". He accepted the offer because Aya Brea was one of his favorite characters and he wished to participate in the revival of the "Parasite Eve" series. Kamikokuryo eventually became the game's art director and went through a long period of trial and error while trying to conceive a unique graphical style. The visuals started to come together once he had drawn an illustration of a monster hive centered around the concepts of "fear" and "sensuality". While Kamikokuryo did not personally design the characters' costumes, he gave specific instructions to the artist in charge of them.
Afterwards, Kamikokuryo worked as art director on "Final Fantasy XIII-2". As he felt that the tone of the story was much darker than that of its predecessor, he decided on surrealism as the main theme for the visuals. The works of Salvador Dalí and Giorgio de Chirico were used as references and helped Kamikokuryo strike a balance between photorealism and fantasy-like surrealism. Unlike "Final Fantasy XIII", the game had a much tighter schedule allowing for little pre-production. Kamikokuryo hence used photographs instead of self-drawn pictures to explain his setting ideas to the other staff members. For example, a photograph of ruined buildings in the Cuban capital Havana inspired the look of Valhalla, the afterlife of "Final Fantasy XIII-2". Kamikokuryo gave his artists more freedom to include their own ideas in the game's locations, intending to rectify the shortcomings of the more artificial seeming settings in "Final Fantasy XIII". In addition to adjusting models, camera angles and lighting effects, he also drew the final version of the character Lightning based on a silhouette sketch by Tetsuya Nomura. Kamikokuryo's first character design, he received suggestions from Nomura and finished Lightning's costume in one to two months.
For "", the conclusion of the trilogy started with "Final Fantasy XIII", Kamikokuryo again was the art director. For the game's art style, he suggested a blend between mechanical designs, fantasy elements and gothic art. As such, he and his team used 19th century gadgets and London at the time of the Industrial Revolution as visual references. Kamikokuryo designed two of Lightning's costumes, among them the "Nocturne" garb.
Kamikokuryo resigned from Square Enix on March 31, 2017. His last game at the company was "Final Fantasy XV", on which he served as art director. He thanked Square Enix for giving him so many opportunities to both work with great people, as well as deploy his skills. Kamikokuryo now aims to start writing again in addition to doing freelance art and diction work. In 2019 Kamikokuryo joined the development team making the PlayStation 4 game "Gungrave G.O.R.E."
Style and personal life.
Before he joined the game industry, Kamikokuryo had created figurative art of people and landscapes. His primary influences are realist painter Andrew Wyeth, industrial designer Luigi Colani, comics artists Alex Ross and Frank Frazetta as well as photojournalist Steve McCurry. Kamikokuryo also gives Hajime Sorayama, Katsuya Terada, Range Murata, Akira Yasuda, Ryuichiro Kutsuzawa and Alphonse Mucha as his favorite artists. Some of the tools and programs used by Kamikokuryo are a Vaio computer, an Intuos graphics tablet and the applications Adobe Photoshop and MetaCreations Painter. He explained how his style differs depending on the teams he works with: Yoshinori Kitase's staff would normally ask for "catchy and original" designs while Yasumi Matsuno's would request something "highly artistic in nature" and "faithful to [the] sound foundation" of the team.
Kamikokuryo lives in Tokyo. He is an avid hobby photographer and world traveler, taking pictures of scenery and buildings for future reference. For example, he had visited New York City, the Grand Canyon and ancient ruins in Italy before he started working on "Final Fantasy XIII". He likes playing video games that demand deliberate judgments, such as those in the simulation and real-time strategy genre. Kamikokuryo's preferred titles include "Grand Theft Auto", "", "Red Dead Redemption", "Dragon Warrior III" and "Final Fantasy VII". His favorite musicians are Japanese singers Ringo Sheena and Lisa.


Footlight (typeface)

Footlight is a serif typeface designed by Malaysian type designer Ong Chong Wah in 1986 for the Monotype Corporation. Footlight is an irregular design. It is sold in weights from light to extra-bold with matching italics. It was originally designed as an italic font, the roman version followed.
Footlight MT.
A version of Footlight's light style called "Footlight MT" (without italic) has been bundled with some Microsoft software.
Distribution.
It has been distributed in the following products:
Unicode.
Footlight MT has support for the following Unicode blocks:


Azed (crossword compiler)


Helmut Schreyer

Helmut Theodor Schreyer (4 July 1912 – 12 December 1984) was a German inventor. He is mostly known for his work on the Z3, one of the first computers.
Early life.
Helmut Schreyer was the son of the minister Paul Schreyer and Martha. When his father started to work in a parish in Mosbach, the young Schreyer went to a school there. He earned his Abitur in 1933. He then worked as an intern at AEG.
Career.
Schreyer started to study electronic and telecommunications engineering at the Technical University of Berlin in 1934. He got to know Konrad Zuse in the fraternity "AV Motiv" in 1935 and then helped him to construct the computer Z1. In 1938 he earned his diploma and then worked as a graduate assistant at Prof. Wilhelm Stäblein's institute. Schreyer belonged, together with Herbert Raabe (1909–2004), to the first assistants of Wilhelm Stäblein, who had worked at AEG's research division until 1936. During WWII Schreyer was not drafted because his work was considered essential to the war effort. Schreyer e.g. worked on detection technology for unexploded ordnance. He then worked on the accelerometer for the V-2-rocket. Schreyer also worked on technology to convert the radar signal into an audio signal which the pilot of a fighter aircraft might recognize.
Helmut Schreyer advised Konrad Zuse to use electrical circuit technology to implement computers, but he first considered it practically infeasible and then could not get the necessary funding. Up to 1942 Schreyer himself built an experimental model of a computer using 100 vacuum tubes, which was lost at the end of the war. Schreyer planned to build a computer memory for 1000 words in 1943, that was to contain several thousand electron tubes, but the war put an end to all larger plans. In 1944 he built an electrical circuit to convert decimal to binary numbers.
After the war Schreyer, who had been a member of the NSDAP, emigrated with his wife and daughter to Brazil where he became professor at the Instituto Militar de Engenharia in Rio de Janeiro.


The New Obsessives

The New Obsessives is a group of artists focused on reassembling a non-ambiguous cultural experience through the proliferation of art and art propaganda. The collective consists primarily of former members of the Defastenist art movement that was based in Dublin, Ireland. The group's focus is an evolution of the Defastenist Manifesto, and is a direct response to the belief that discourse among artists has become "watery and... inefficient".
Publications.
"The New Obsessive" is the monthly publication edited, written, illustrated and published by members of The New Obsessives. Issue 1 was published August 25, 2009. On May 10, 2011, the monthly online broadsheet format was abandoned for an electronic news agency format, to be updated at more frequent intervals. Contributors have included but are not limited to: Gary Farrelly, David Turpin, Sophie Iremonger, White Trash Peg, Oisin Byrne, Donna Marie O'Donovan, Antoine Gache, J.T.H Paris, Liam Ryan, Gavin Reddin, Jamey Ray Ruppert, Douglas Brodoff, Marina Guinness (under a nom de plume), and Francis Moulinat.
Exclusive interviews of notables include but are not limited to: Mariya Ocher, Yorgos Nikas, Gene Gregorits, Martin Kiefer, Jimmy Dale, Cindy Wilson, Barra O'Brien, and Andrew Bayer


Tranquillo Cremona

Tranquillo Cremona (10 April 1837 – 10 June 1878) was an Italian painter.
Biography.
He was born in Pavia and was the brother of the mathematician Luigi Cremona. He trained as a young man with Giovanni Carnovali. He lived in Venice from 1852 to 1859.
Cremona moved to Milan and he became part of the Scapigliatura movement which was characterized by bohemian attitudes and included poets, writers, musicians and artists infused with a combination of rebellious, and later anti-academic and anarchic, tendencies. His paintings have a windswept style, lacking the linearity of Hayez and other academics and reminiscent of the Venice School and Titian.
Among Cremona's contemporaries in this movement were Giuseppe Rovani, Corrado Bozzoni, Antonio Tantardini, Giuseppe Grandi, Ferdinando Fontana, and Daniele Ranzoni. His work consisted mostly of portraits, and his subjects were often women. He also painted grand subjects such as "Marco Polo At The Court of Kubla Khan" and "Scenes from Goethe's Faust". The brushstrokes often create dazzling figures, scintillating their margins into their surroundings. His subject's actions often remain cryptic in meaning, other than a transient observation of human encounters and behaviors. His technique recalls the "pittura de tocco e di macchia" (painting of touch and dots) practiced by painters such as Titian, Rembrandt, and 18th-century Northern Italian baroque masters such as Crespi, Guardi, Piazzetta, and Bazzani. His two works are in Museo cantonale d'arte of Lugano.
His painting titled "La Melodia" (1874, private collection) has a woman at a piano, in an impressionist disintegration, face swaying partially away, challenging us to view the musical composition as the subject of the brushstrokes, instead of persons or dimensional objects. A work completed a few months before his death, "L’edera" (1878; "The Ivy", referring only to a strand of the plant at one margin), one figure embraces passionately an aloof figure. The nature of the situation, perhaps even the gender of the person below, appear unsettled.
He was a friend of Scapigliatura writer Carlo Dossi. New editions of the works of the writers and poets of the Scapigliatura often feature Cremona's paintings on their covers. Cremona died in Milan, at the age of 41, of a sudden intestinal ailment, attributed to intoxication by the oil pigments which he made himself and which he usually tested by spreading them on the bare skin of his arms.


Arkady and Boris Strugatsky

The brothers Arkady Natanovich Strugatsky (; 28 August 1925 – 12 October 1991) and Boris Natanovich Strugatsky (; 14 April 1933 – 19 November 2012) were Soviet-Russian science-fiction authors who collaborated through most of their careers.
Life and work.
The Strugatsky brothers ( or simply ) were born to Natan Strugatsky, an art critic, and his wife, a teacher. Their father was Jewish and their mother was Russian Orthodox. Their early work was influenced by Ivan Yefremov and Stanisław Lem. Later they went on to develop their own, unique style of science fiction writing that emerged from the period of Soviet rationalism in Soviet literature and evolved into novels interpreted as works of social criticism.
Their best-known novel, "Piknik na obochine", has been translated into English as "Roadside Picnic". Andrei Tarkovsky adapted the novel for the screen as "Stalker" (1979).
Algis Budrys compared their "An Emergency Case" and Arkady's "Wanderers and Travellers" to that of Eando Binder. Several other of their fiction works were translated into English, German, French, and Italian, but did not receive the same magnitude of critical acclaim as that granted by their Russian audiences. The Strugatsky brothers, however, were and still are popular in many countries, including Estonia, Hungary, Poland, Bulgaria, the former republics of Yugoslavia, and Germany, where most of their works were available in both East and West Germany. They are well-known Russian science fiction writers with a well-developed fan base.
The Strugatsky brothers were Guests of Honour at Conspiracy '87, the 1987 World Science Fiction Convention, held in Brighton, England.
In 1991, Text Publishers brought out the collected works by Arkady and Boris Strugatsky.
Arkady.
Arkady Strugatsky was born 25 August 1925 in Batumi; the family later moved to Leningrad. In January 1942, Arkady and his father were evacuated from the Siege of Leningrad, but Arkady was the only survivor in his train car; his father died upon reaching Vologda. Arkady was drafted into the Soviet army in 1943. He trained first at the artillery school in Aktyubinsk and later at the Military Institute of Foreign Languages in Moscow, from which he graduated in 1949 as an interpreter of English and Japanese. He worked as a teacher and interpreter for the military until 1955. In 1955, he began working as an editor and writer. In 1958, he began collaborating with his brother Boris, a collaboration that lasted until Arkady's death on 12 October 1991. Arkady Strugatsky became a member of the Union of Soviet Writers in 1964. In addition to his own writing, he translated Japanese language short stories and novels, as well as some English works with his brother.
Boris.
Born 14 April 1933, Boris Strugatsky remained in Leningrad with his mother during the siege of the city during World War II. He graduated from high school in 1950 and applied to the physics department at Leningrad State University, but studied astronomy instead. After graduating in 1955, he worked as an astronomer and computer engineer at the Pulkovo observatory. In 1960 he participated in a geodetic and astronomical expedition in the Caucasus. Boris Strugatsky became a member of the writers' union of the USSR in 1964. In 1966, he became a full-time writer. From 1972 he acted as the head of the Leningrad seminar of young speculative fiction writers, which subsequently became known as the "Boris Strugatsky Seminar." He established the "Bronze Snail" literary prize. He was an agnostic atheist. After the death of his brother, he published two more novels under a pseudonym. Boris Strugatsky died in Saint Petersburg on 19 November 2012.
Noon Universe.
Several of the Strugatsky brothers' books take place in the World of Noon, also known unofficially as the Wanderers Universe. The name is derived from the title of one of their texts, "".
The main characteristics of the Noon Universe are: a very high level of social, scientific, and technological development; creativity of the general population; and the very significant level of societal maturity compared to the modern world. For instance, this world knows no monetary stimulation (indeed, money does not exist), and every person is engaged in a profession that interests him or her. The Earth of the Noon Universe is governed by a global meritocratic council composed of the world's leading scientists and philosophers. That Noon World has been clearly named as "World of Communism" in their novels, which was handy for publishing their novels in the USSR, where the Communist Party decided whether a book would be printed and approved for mass circulation.
The Noon Universe was described by the authors as the world in which they would like to live and work. It became highly influential for at least a generation of Soviet people, e.g., a person could quote the Strugatsky books and be sure of being understood. At first the authors thought the Noon Universe would become reality "by itself", but then they realized that the only way to achieve it was by inventing the High Theory of Upbringing, making the upbringing of each person a unique deed.
One of the important story arcs of those books addresses how the advanced human civilization covertly steers the development of those considered less advanced. Agents of humans are known as Progressors. At the same time, some humans suspect that a very advanced spacefaring race called Wanderers exists and is "progressing" humanity itself.
Works.
Short stories.
Short story collections.
Short stories originally published in "Six Matches":
Short stories originally published as part of the novel "":
Solo works.
The following titles were published by Arkady Strugatsky under the pseudonym S. Yaroslavtsev (C. Ярославцев):
The following titles were published by Boris Strugatsky under the pseudonym S. Vititsky (С. Витицкий):
Adaptations.
The Strugatskys' books were often adapted for screen, stage, comics and video games. Some of the adaptations are very loose, like Tarkovsky's Stalker, some are not adaptations but rather new scripts written by Brothers themselves, like The Sorcerers.
Legacy.
Several writers have to a varying degree paid their tribute to the works of Strugatsky brothers:


Dany Boivin

Dany Boivin is a Canadian art director and production designer. He is most noted for his work on the film "The Twentieth Century", for which he won both the Canadian Screen Award for Best Art Direction/Production Design at the 8th Canadian Screen Awards and the Prix Iris for Best Art Direction at the 22nd Quebec Cinema Awards.
His prior credits included the films "Bydlo" and "The Tesla World Light".


Tzangion

The tzangion (, ), plural tzangia (τζαγγία) was a type of boot or sandal, which in the Middle Ages became an important part of the Byzantine Emperors' regalia.
In the 4th century, the "tzange" was a type of elegant shoe, but its use as an imperial vestment in Byzantium only began later, and was influenced by eastern, most likely, Persian, usage. Thus the first occurrence of the "tzangia" as a sign of royal power is in John Malalas' description of the coronation of Tzath I as king of Lazica under Justin I, where Tzath was dressed in Roman imperial garb, but wore "tzangia", decorated with pearls "in the Persian manner", rather than the Roman emperor's "kothornoi". By the 9th century, the wearing of red "tzangia" had become firmly associated with the imperial office, so much so that rebels putting them on signified their usurpation of the imperial title. In the mid-14th century, Pseudo-Kodinos reports that the "tzangia" were tall boots decorated with eagles out of pearls and precious stones.
The term is the root for the Greek term for shoemaker, "tsangaris" (τσαγκάρης), via "tzangarios" (τζαγγάριος), although a maker of imperial "tzangia" was called "tzangas" (τζαγγάς).


Hardy LeBel

Hardy LeBel Jr. (most often credited as simply Hardy LeBel) (born August 4, 1967) is an American professional in the video games industry with a variety of published credits on video game titles including game designer, creative director and creative consultant.
Early life.
He was born on August 4, 1967 at the United States Airforce base Tachikawa Airfield in Tachikawa, Tokyo, Japan, and is the only surviving child of Hardy LeBel Sr. (deceased) and Joan LeBel.
Hardy LeBel Jr. graduated from High School at Providence Country Day School and also attended Boston University where he studied acting for a time, but ultimately earned his bachelor's degree in English studies. He currently resides in the Pacific Northwest with his family.
Career.
LeBel's video game design credits include titles such as Pac Man World, and Halo 2.
Games credited as game designer:
Games credited as creative director or Design Director:
Games credited as creative consultant:
Games credited as voice-over actor:


The Theatre of Mistakes

The Theatre of Mistakes was a performance art company in London, operating in the 1970s-1980s. The group was known for its live performance art that was built around interactive games and workshops. The work was minimalist, structuralist, and conceptual.
Background.
The performance group was formed in the early 1970s in London. It emerged out of a series of workshops, which were oriented towards games-based exercises. One of the earliest outcomes that shaped the direction of the Theater of Mistakes was a performance at Ascham Street in Kentish Town, which involved its residents as well as the environs of the location. The residents' furniture, for instance, was moved onto the streets for the exhibition. From then on, the group developed a form of structured performance art that included architecture, choreography, and poetry.
The concept of the performance often included several elements. For example, it might open with a "Free Session" and continue with performance workshops on weekdays. Each Friday and Saturday evenings, the group performed one of its works such as "Going" (1977), which involved a cast of five playing out mannerisms of departure in five choreographed acts.
While it received some attention in the United Kingdom, the Theater of Mistakes reached a higher level of acclaim abroad. One account stated that in Italy, a theatre manager doubled their fee due to the popularity of the performance.
Selected performances.
1976 Serpentine Gallery, London, 'Homage to Pietro Longhi'
Stedelijk Museum; Amsterdam. 'The Ascent of the Stedelijk'
1977 Hayward Gallery, London. 'A Waterfall' 48 performances for the Hayward Annual. Biennale de Paris, Musee d'Art Moderne, Paris -'Going'
FIAC, Grand Palais, Paris - ‘Going’.
1978 Student Cultural Centre, Belgrade -'Two Freedoms' and 'Going'
Arnolfini Gallery, Bristol -'Going', 'Waterfall 3'. Paula Cooper Gallery, New York -'Waterfall 6' State Penitentiary and University, Pittsburgh, - 'Going'
Theatre for the New City, New York -'Going'
1979 Forum fur Actuelle Kunst, Innsbruck -'Orpheus and Hermes'
1980 Brighton Theatre Festival -'Orpheus and Hermes', University Theatre Festival, Brescia, and Salle Polyvalente, Ferrara - 'Duet for Orpheus and Hermes' and 'Homage to Morandi' Tour of Holland -'Homage to Morandi'
1981Jeanetta Cochrane Theatre, London - 'Homage to Morandi' 'Going';
'Table Move 1'; and 'The Ninth Method'. Tour of Belgium -'Homage to Morandi'. Kunstlerhaus Bethanien, Berlin -'Homage to Morandi' and 'Table Move 1'
Performance texts by The Theatre of Mistakes.
Homage to Morandi – Grey Suit Editions, 2006.
The book of the performance by The Theatre of Mistakes.
Going – Grey Suit Editions 2007.
The book of the performance by The Theatre of Mistakes


Daniel A. Lomino

Daniel A. Lomino is an American production designer and art director. He was nominated for an Academy Award in the category Best Art Direction for the film "Close Encounters of the Third Kind".


Gelitin

Gelitin (stylized in lowercase) is a group of four artists from Vienna, Austria. The group was formerly known as Gelatin and changed their name in 2005. They are known for creating sensational art events in the tradition of Relational Aesthetics, often with a lively sense of humor.
Among their projects are a gigantic plush toy: a 55 meter tall pink rabbit on Colletto Fava (near Genoa, Italy), intended to remain there until 2025. In November 2005, the group had a show at Leo Koenig, Inc. in New York, a project called "Tantamounter 24/7". The project was a "gigantic, complex and very clever machine", according to the artists, which functioned as a kind of art-Xerox. The group erected a barrier blocking off one half of the space, locking themselves inside for one week, then asking visitors to insert items that they wanted copied into an opening in the barrier, which copies were then returned through another opening.
Works.
"The B-Thing".
One of Gelitin's best known art projects began in March 2000, when the group allegedly removed one of the windows on the 91st floor of the former World Trade Center complex and temporarily installed a narrow balcony, while a helicopter flew around the scene, taking photographs to be later documented in their book "The B-Thing". The book was published in 2001 and had even by that time taken on an air of urban legend, with new copies selling for $500 on "Amazon.com" as of 2016.
Other works include:


Gene Callahan

Gene Callahan (November 7, 1923—December 26, 1990) was an American art director as well as set and production designer who contributed to over fifty films and more than a thousand TV episodes. He received nominations for the British Academy Film Award and four Oscars, including two wins (in 1962 and 1964).
A native of Louisiana, Eugene F. Callahan had a lifelong association with the state. He kept a home in the capital, Baton Rouge, where he began his designing career in the 1940s as a student at Louisiana State University, and his film assignment was as production designer on "Steel Magnolias", lensed in Natchitoches in 1989.
Callahan was a prolific contributor to early television, starting with the first full-schedule broadcast season in 1948–49. He worked on numerous live shows during TV's Golden Age and continued with filmed episodes through the late 1950s and early 60s. His first film as set decorator was 1959's "The Fugitive Kind", and his fourth assignment, 1961's black-and-white "The Hustler" brought him his first Academy Award. 1964 was a banner year for him with two Oscar nominations—"The Cardinal" in the color category and "America America" in the category of black-and-white films, with the latter winning him his second Oscar. Unlike the 1962 win for "The Hustler", which he shared with production designer Harry Horner or his shared nomination for "The Cardinal" with production designer Lyle R. Wheeler, the award for "America America", was his alone. Elia Kazan's acclaimed epic set in turn-of-the-century Greece and Turkey was nominated for Best Picture and Best Director, but it was Callahan's epic production values that won the film's only Oscar.
Gene Callahan's professional relationship with Elia Kazan began two years before "America America" and extended to four of Kazan's final five films. The first title, 1961's "Splendor in the Grass", which introduced Warren Beatty to the screen and won an Oscar for William Inge's screenplay, credited Callahan as the set decorator. Eight years later, he was the production designer for Kazan's next film after "America, America", 1969's "The Arrangement", which received almost entirely negative reviews and no Oscar nominations. He did not work on Kazan's next production, 1972's "The Visitors", another poorly accepted title, but five years later, in 1977, there was one more Oscar nomination for Gene Callahan. "The Last Tycoon", Elia Kazan's final directorial effort assigned him the task of recreating 1920s Hollywood as it was portrayed in F. Scott Fitzgerald's last, unfinished novel which reimagined the period setting and its driven, doomed protagonist, an Irving Thalberg-like movie producer, portrayed by Robert De Niro. The nomination (shared with art director Jack T. Collis and set decorator Jerry Wunderlich) was the only one given by the Academy to the film, which in addition to a mixture of good, tepid and negative reviews, was burdened by weak publicity and box office returns.
Gene Callahan died of a heart attack at his home in Baton Rouge, seven weeks after his 67th birthday. His final film, "The Man in the Moon", a touching coming-of-age story filmed, as in the case of "Steel Magnolias", in Natchitoches as well as Louisiana's Kisatchie National Forest, was released in October 1991, nearly a year after his death.


Adam Matthew Digital

Adam Matthew Digital is an academic publisher based in the United Kingdom and the United States. It has been an independent subsidiary of Sage Publications since 2012.
The company specializes in online primary source databases and curated collections for the humanities and social sciences. Its corporate offices are in Marlborough, Wiltshire.
History.
Adam Matthew Publications was founded in 1990 by David Tyler and William Pidduck. The company focused on publishing microfilm collections with a back list of over 600 titles until publishing their first ‘digital’ collections in the late 1990s on CD-ROM, and releasing its first truly online resources in the early 2000s.
By the mid-2000s, the company directors – now including Khal Rudin - founded Adam Matthew Digital to focus solely on the development and production of digital collections, and began trading as a separate entity from 1 January 2007.
On 5 October 2012, the company was acquired by SAGE Publications.
Collections.
The company publishes collections of digitized primary source materials from different historical eras. For example, "Empire Online" covers the histories of colonial era United States, Canada, India, Australia, South Africa, and Britain. Other collection topics include gender studies, American history and consumer culture, Victorian England, Asian history, the First World War, and others.
Collaborations.
Adam Matthew have collaborated with various source archives and institutions including the Gilder Lehrman Institute of American History, Newberry Library and The National Archives (United Kingdom). An explanation of their relationship with The National Archives (United Kingdom) has been recorded in a short video which covers the process of selection, preservation and digitisation of materials required to produce resources on topics such as Apartheid South Africa, Confidential Print: Middle East and The Nixon Years.
In January 2016, Adam Matthew partnered with Jisc to provide all UK Higher and Further Education institutions with access to their nineteenth century collection on global immigration, Migration to New Worlds. To gain permanent access without payment, UK institutions can register with Jisc to receive access details for their entire staff and students.
TexShare.
In 2013, the company entered into an agreement with the Texas State Libraries and Archives Commission (TSLAC) to provide permanent access to two Adam Matthew digital collection via the TexShare consortium. The agreement allows the provision of access to rare and unique materials for the study of American history, to close to two thousand individual institutions across Texas, from K-12 to 4-year colleges, public libraries and community colleges.


Lee Sheldon (writer)

Charles Lee Sheldon is an American academic, game writer and designer, book author, television producer and scriptwriter, often in the mystery genre, and is best known for creating game teaching projects.
Education.
Sheldon has a bachelor of fine arts degree in stage directing from Boston University, and an MFA in film direction from California Institute of the Arts. During his time as a student at CalArts, he was mentored under Alexander Mackendrick. In addition, he had two pairs of mentors while he was a writer and producer in television — Ron Austin and Jim Buchanan, as well as William Link and Richard Levinson.
Career.
His television credits as a scriptwriter include "Charlie's Angels", "Quincy, M.E.", "Cagney & Lacey", "The Edge of Night (Head Writer)", "Snoops", "Another World", and " (ST:TNG)". He was nominated for two Edgar Awards from the Mystery Writers of America and a Writers Guild of America award.
As the new head writer of "The Edge of Night" in 1983, he changed the soap opera to a faster pace, with shorter timelines for crime mystery plots and more storylines within the half-hour show. He promoted the use of computers for speeding the writing and development process.
Sheldon said he was brought on to "Star Trek: The Next Generation" as a producer in 1990 to add more mystery and action to the fourth season. He wrote the episode, , which featured the character Beverly Crusher trying to solve the mystery of disappearing crew members that others don't remember. He recommended a former co-worker, Jeri Taylor, to join the series.
In 1995, Sheldon supplied the voice of Monk 13 in the video game "" in which he also wrote the scripts for the gameplay and casting and directing the voice actors.
He is the author of a mystery novel, "Impossible Bliss", and two non-fiction books, "The Multiplayer Classroom: Designing Coursework as a Game", released in 2009 by CRC Press and "Character Development and Storytelling for Games" released in its second edition in 2013 by Course Technology.
Sheldon was lead writer on 2014's Harmonix game "Disney Fantasia: Music Evolved", lead writer on Zynga's Facebook game, "Adventure World", and lead writer on "Star Trek: Infinite Space" from Gameforge; as well as writer/designer of the Agatha Christie video game series published by The Adventure Company (', ' and "").
In 2006, Sheldon became an assistant professor in the Department of Telecommunications at Indiana University until 2010. For a couple of his game design classes, he used the structure of role-playing games (RPG) for teaching with experience points (XP) to decide grades. One of his projects, Londontown, is a virtual world that emphasizes storytelling.
He previously taught as an associate professor in the communication and media department and as co-director of the Games and Simulation Arts and Sciences program at the Rensselaer Polytechnic Institute in Troy, New York.
He is a professor of practice in game writing in the Interactive Media & Game Development Program at Worcester Polytechnic Institute in Worcester, Massachusetts, starting in 2014.
In February 2020, Sheldon wrote an episode of Extra Credits on developing NPCs with narrative depth. He now holds a recurring position on the company's writing staff.


Kaiser Knuckle

, which is known outside of Japan as Global Champion, is a 1994 fighting game released for the arcades by Taito. "Kaiser Knuckle" was released during the fighting game trend of the 1990s that began with Capcom's "Street Fighter II".
Gameplay.
"Kaiser Knuckle" follows the fighting game conventions established by "Street Fighter II", in which the player's character fights against opponents in a best two-out-of-three match round format from within a single player tournament mode, either with the computer or against another human player in versus mode. The player has a character roster of nine initially selectable fighters to choose from and three unplayable computer-controlled bosses, each with their own unique fighting style and special techniques. The control layout is set to the six-button standard (as with most Capcom fighting games), but it can be switched to a five-button layout via dip settings. "Kaiser Knuckle" is the only fighting game that has five strengths of basic attacks.
Another unique feature is that it introduced the power zones, which can be utilized via a successful hit of a special move when a player's "Crush Meter" is full. The power zones (either fire or electric) can also affect a certain special move that a character has. Backgrounds can be destructible when players get hit to charge up, and when those meters are full, the next special move that a player connects with an opponent will destroy the background's properties at will (other parts of stages, such as floors and walls are also destructible).
Characters.
There are nine playable characters, and three unplayable bosses.
Other versions.
"Global Champion".
"Global Champion" is a modified USA version of "Kaiser Knuckle", the Japanese and European versions. "Global Champion" has the "Recycle It, Don't Trash It!" screen, the "super moves" were cut, and the portraits of Kazuya, Liza and Lihua were re-drawn. After players choose their characters and their first opponents, they will then be able to see an intro sequence that shows the prologue of their chosen character's own personal story. The title screen is also different as well, but strangely, the letter "K" from both words in the "Kaiser Knuckle" logo can still be seen in some of "Global Champion"'s backgrounds.
"Dan-Ku-Ga".
An updated version of "Kaiser Knuckle" was planned to be released in December 1994 as , but it was later discontinued; however, the prototype itself was dumped onto the Internet as a ROM. This version allows the first two bosses, Gonzales and Azteca, to become playable characters. Players can no longer choose their first opponent in a one-player game, except on the Training difficulty level.
Other differences are the CPU AI being altered; players choose the difficulty level (Normal, Professional or Training) before their game; players can backdash with all characters; Gonzales becomes the 5th opponent, Azteca becomes the 9th and the doppelgänger of the selected character becomes the 10th; Kazuya, Lihua and Liza have been redesigned on the character select screen; all characters each have a third costume color; some of the basic attacks that are executed with two punch or kick buttons were taken out, but the rest are still present, being executed with a single button plus a joystick direction; finally, the third boss, General, can now be fought against without meeting certain conditions.
Additionally, was also planned as a sequel to the original arcade board, intending to make the full transition to 3D, but the planning board itself was later canceled. The entire project would soon be retitled as "Psychic Force", replacing the old models with new ones.
Reception.
"Game Machine" also listed "Kaiser Knuckle" on their October 15, 1994 issue as being the twelfth most-successful table arcade unit of the year.


Star Control 3

Star Control 3 is a 1996 action-adventure game developed by Legend Entertainment. It is the third installment in the "Star Control" trilogy. The story takes place after "Star Control II", beginning with the mysterious collapse of hyperspace. This leads the player to investigate a new quadrant of space, joined by allied aliens from the previous games.
The single-player mode is similar to the previous game, combining space exploration, ship-to-ship combat, and alien dialog. In contrast to "Star Control II", hyperspace flight is replaced with fast travel. Planetary exploration is also replaced with a colony management system, inspired by the original "Star Control". Combat offers more detailed steering and aiming, as well as additional player versus player multiplayer options.
Game publisher Accolade hired Legend Entertainment to create this sequel, after the series creators Paul Reiche III and Fred Ford decided to pursue other projects. The game was considered a critical and commercial success when it was released. However, the legacy of "Star Control 3" would suffer from comparisons to the award-winning "Star Control II".
Gameplay.
"Star Control 3" is an action-adventure science fiction game with strategic elements. The gameplay combines features from the first two "Star Control" games. Whereas all three games feature ship-to-ship combat, this game recreates a colonization system last seen in the first "Star Control", with story, exploration, and dialog similar to the second game.
In contrast to "Star Control II", hyperspace flight is replaced with fast travel, in the form of an instantaneous "warp bubble" device. The player's allies create this warp device in response to a hyperspace collapse, which becomes the subject of the player's investigation. They must follow the origins of this mysterious collapse to the galactic core, where they encounter new alien friends and foes. The player can warp between locations by clicking on a SVGA star map with a mouse, which is both faster and safer than the hyperspace flight of "Star Control II".
Where the previous game had the player gather resources by landing on planets, "Star Control 3" has the player earn resources through a colony management system. This builds upon the colonization system seen in the first "Star Control". Eventually, a planetary colony will provide resources such as fuel, ships, crew, and artifacts. The player manages each planet's priorities, and each planet is suited to a different alien race. These colonies offer the player a convenient way to resupply, without returning to a central star base.
All three of the original "Star Control" games feature 2D "melee" ship combat. "Star Control 3" offers the overhead viewpoint from the first two games, as well as a new 2.5D pseudo-3D viewpoint. Each alien race has a unique ship, with a unique weapon and secondary ability. Combat allows more degrees of rotation than the previous games, with more detailed aiming, steering, and scaling. The multiplayer player versus player mode also returns from previous games, with new options for network, modem, and serial connections. However, multiplayer combat only features ships from "Star Control 3"'s story, leaving out some ships from the first two games.
Much of the game involves dialog with alien races, each with unique personalities. The dialog screens feature digitized full motion video of mechanical puppets, instead of the 2D animated pixel art of the previous games. The soundtrack is also a change from sample-based module music of the second game, opting for a more standard MIDI score.
Plot.
Shortly after the events of "Star Control II", hyperspace mysteriously collapses throughout the galaxy, stranding most spacefaring races. For the next several years, the Captain experiments with ancient Precursor artifacts, and creates a new ship that can instantly "warp" between stars without hyperspace. The Captain eventually traces the origins of the hyperspace collapse to the galactic core, and assembles an alliance of ten alien races to investigate the unexplored quadrant.
In the distant Kessari Quadrant, the Captain clashes with the Hegemonic Crux, a power bloc of several alien races led by the Ploxis Plutocrats. The Captain's investigation also reveals an apocalyptic threat, the imminent return of inter-dimensional beings called the Eternal Ones, who appear once an aeon to consume all sentient energy.
The Captain eventually discovers that the ancient Precursors disappeared on purpose, devolving themselves into a non-sentient species that the Eternal Ones would not consume. The Precursors also created semi-sentient robots, the Daktaklakpak, to reverse this process after the Eternal Ones left. However, the Daktaklakpak malfunctioned, leaving the Precursors stranded at an animal intelligence level. The Captain temporarily restores a single Precursor to their full intelligence, who explains that the hyperspace collapse is connected to inter-dimensional fatigue caused by the Eternal Ones. Before the Precursor dies, they tell the Captain about an unfinished Precursor project, which could harvest sentient energy for the Eternal Ones in a non-lethal way.
The Captain encounters other urgent threats in the Kessari Quadrant. They persuade the Owa race to stop dumping their antimatter waste on Rainbow Worlds, which was preventing them from performing their function of mitigating interstellar fatigue. The Captain also breaks the power of the Hegemonic Crux, culminating in the defeat of a Crux Precursor battleship at the galactic core.
The Captain finally confronts the Heralds of the Eternal Ones at the galactic core. After defeating them, the Captain finds a way to combine the Eternal Ones' technology with the unfinished technology from the Precursors. The Captain uses the new device to peacefully gather enough sentient energy to satisfy the Eternal Ones, saving all sentient life from destruction.
Development.
Hiring and continuity.
After the success of "Star Control II", Accolade offered Fred Ford and Paul Reiche III the same budget to produce a third game, which they turned down to pursue other projects. As Ford and Reiche had retained the rights to their characters and stories from the first two games, they licensed their content to Accolade so that the publisher could create "Star Control 3" without their involvement. Producer George MacDonald from Accolade decided to work with Michael Lindner and Daniel Greenberg of Legend Entertainment, after hearing about their love of "Star Control" from Legend president Bob Bates. MacDonald and Lindner led the game design, and the programming team was led by Mark Poesch. The game's story was written by Lindner and Greenberg.
Legend Entertainment's writers included veterans from acclaimed adventure game developer Infocom. To guide the project, the staff at Legend assembled a "bible" about "Star Control" based on the series' manuals and scripts, with the fan community providing corrections and additions. Fan feedback was actively solicited through magazines and the bourgeoning internet. Legend Entertainment also consulted with Ford and Reiche to answer open questions from "Star Control II", such as the true fate of the Precursors, and the relationship between Earth and the Arilou. Legend wanted to continue the previous story while adding new characters and plots, so they set the game in a new quadrant of space. The story expands on the mystery of the Precursors' disappearance, and introduces new enemies in the form of the Hegemonic Crux. MacDonald described the game's relationship between gameplay and narrative, explaining that ""Star Control" is at its core a giant story, and you have to find this story and explore it".
Design and production.
Early in development, a concept document was created by Legend Entertainment founder Mike Verdu. Legend also compiled an inches-thick binder of letters, faxes, and e-mails, with fan suggestions for the next "Star Control" game, which they incorporated into their plans. A major target of fan criticism was the tedium of the planetary resource gathering from "Star Control II", as well as complaints about returning to Earth to refuel. The team decided to replace planet landing with a colony management system, an allusion to the strategy elements from the first "Star Control" game. The colony feature was designed to provide a convenient place for players to refuel, as well as a logical location to recruit crew and ships. MacDonald explained that "we wanted a big universe to explore, but we wanted to make it easier to actually get places".
The team were fans of the original 2D art of the "Star Control II" aliens, and were hesitant to utilize 3D graphics that were too mathematical or robotic. However, they were also concerned that the 2D graphics created in the early 1990s were already obsolete. Finding a third way forward, they designed the characters by filming live animatronic puppets, designed to take advantage of the storage potential of CD-ROM. MacDonald wanted the new game "to bring the visuals and multimedia elements as far forward as we could". Working with special effects company "SOTAFX", they developed their character concepts into fully-automated animatronic puppets. The registration points on the robotic puppets were integrated with software that could control their movements. While a few aliens would be rendered in CGI, most of them were constructed in person, filmed against a blue screen, and then composited with background footage of hand-crafted miniature film sets. The team eventually finished 24 alien characters and animations (12 new, and 12 returning), which required extensive personnel to engineer, program, film, and convert to digital video.
The developers also added an isometric pseudo-3D view option to the combat screen. This led to aiming challenges that required more dynamic camera-movement. They also rendered more ship angles than previous games, in order to support more granular aiming and steering. This array of camera angles and lighting effects proved to be a challenge, but ultimately ran smoothly on a 486.
"Star Control 3" features professionally voiced dialog with a different cast from "Star Control II", which was previously performed by personal friends of Reiche and Ford. Audio producer Kathleen Bober auditioned talent from other games, as well as soap operas and documentaries, until they arrived at performances that felt accurate to the alien characters. They directed the actors to convey the feel of the characters based on inflection and tone, rather than accents or distortions. The result was a unique voice and lingual pattern for each alien, with over 11 hours of audio created from 18 voice actors. The designers also chose a MIDI soundtrack instead of the previous sample-based module format, in order to make it easier to port to consoles (which ultimately never happened).
A version was planned for the Sony PlayStation, as well as the Sega Saturn (the first "Star Control" game for Sega consoles since the original), but the console port was cancelled during development of the PC version. The game was also delayed. "Star Control 3" had been scheduled to be released in the Fall of 1995, but was finally published a year later, due to the complexities of all the interactions between the different aliens. Much later, in 2011, the game would be re-released for modern computers through GOG.com.
Reception.
Sales.
"Star Control 3" was considered a commercial success. It debuted on "PC Data"'s computer game sales charts at #11 in September 1996, and climbed to tenth place the following month. The game exited "PC Data"'s top 20 in November. In its initial two months, "Star Control 3" surpassed 100,000 units in sales.
Critical success.
At the time of its release in 1996, critics gave "Star Control 3" positive reviews. According to Metacritic, "Star Control 3" has a score of 89% based on the reviews of 5 critics, indicating "generally favorable" reviews.
Writing for "PC Gamer", Michael Wolf places the game in context of the series, "where "Star Control 1" contained mostly strategic elements, as well as action-oriented melee between ships, "Star Control II" focused mainly on telling a story, while retaining the ship-to-ship combat. "Star Control 3", on the other hand, attempts to incorporate all three aspects of strategy, story, and action, with mixed results". Overall, "PC Gamer" awarded the game an "Editor's Choice" with a 90% rating, stating that the game "has some pretty big shoes to fill, and it does so beautifully". Tim Soete of "GameSpot" similarly praised its integration of strategy, action, exploration, and adventure, and rated it 9/10 as one of the best games of the year. "Computer Games Magazine" gave the game 4.5 stars, celebrating the plot and characters, and calling it one of the best games of the year. Giving the game four stars, "Next Generation" felt that the game's graphics and strategy mechanics did not live up to expectations, but the story and gameplay variety were more than enough to make it a great game. "PC Games" gave the game an A-, explaining that ""Star Control II" was a funnier, more colorful game, but "Star Control 3" supplies a superior gaming engine, [...] a sophisticated strategy-based colony system, fine Super VGA artwork, and far better game balance". That year, "Star Control 3" was nominated for a 1996 Spotlight Award at the Computer Game Developers Conference, for "Best Script, Story or Interactive Writing".
Two years later, the Macintosh version received more mixed reviews. "Macworld"s Michael Gowan wrote that "Star Control 3" was lacking a modern feel, particularly in its action and dialog. "Next Generation" called it "obsolete" and rated it lower than its PC version, saying it falls short of other space simulation games on the Macintosh. That said, the game still received 4 out of 5 stars in "MacHome Journal".
Legacy.
Ultimately, "Star Control 3" is not remembered as fondly as its predecessor. Despite earning critical praise on release, the fanbase never warmed up to it. When "IGN" compiled their 2003 list of greatest games, they celebrated "Star Control II" while noting that "Star Control 3" "paled in comparison". Upon its re-release in 2011, "GOG.com" noted that fans were critical of the game, despite receiving excellent reviews. "Critical Hit" describes "Star Control 3" as "an able demonstration of computer graphics technology of the time", but "it went a little backwards in its integration of the series alien races, and poor combat modes. Developed without any input from designers Fred Ford and Paul Reiche III from Toys for Bob, most fans don’t consider it part of the series canon".
Game developer and historian Neal Tringham suggests that "Star Control 3" was not successful at reproducing the successful design of the second game. Historian Rusel DeMaria also explains that fans did not consider "Star Control 3" as good as its predecessor, noting that they were developed by different teams. According to Kotaku, "no one's really nailed a successor to "Star Control II" and an official addition to the series was killed off by the lacklustre "Star Control 3"".
Initially, series creators Ford and Reiche had promoted "Star Control 3" as a "visually rich" and "captivating sequel". Years later, the duo cautioned against focusing too much on questions from the previous games, concluding that a "smattering of that is fun, but the whole point is to extend the mystery". Reiche also felt that the new character design lost the charm of "Star Control 2"s digital paintings. Kurt Kalata describes the efforts of Legend Entertainment, that it's "obvious the designers of "Star Control III" had great reverence for the older games, it still can’t help but feel like fan fiction. That feeling, that everything is slightly off, is what harms "Star Control 3" the most".
In 1998, a follow-up game called "StarCon" was planned with the Crux as a major faction, but Accolade put the project on hold to rethink their plans for the "Star Control" license. "Star Control 3" thus marked the last official instalment to the series.


Tallboy (bomb)

Tallboy or Bomb, Medium Capacity, 12,000 lb was an earthquake bomb developed by the British aeronautical engineer Barnes Wallis and used by the Royal Air Force (RAF) during the Second World War.
At , it could only be carried by a modified model of the Avro Lancaster heavy bomber. It proved to be effective against large, fortified structures against which conventional bombing had proved ineffective.
History.
Wallis presented his ideas for a 10-ton bomb in his 1941 paper "A Note on a Method of Attacking the Axis Powers", which showed that a very large bomb exploding deep underground next to a target would transmit the shock into the foundations of the target, particularly since shock waves are transmitted through the ground more strongly than through air.
Wallis designed the "Victory Bomber" of , which would fly at at to carry the heavy bomb over , but the Air Ministry opposed a single-bomb aircraft, and the idea was not pursued after 1942.
The design and production of Tallboy was done without a contract on the initiative of the Ministry, following Wallis' 1942 paper "Spherical Bomb—Surface Torpedo" and the design of the "bouncing bomb" for the Dam Busters of Operation Chastise. The RAF used bombs that they had not bought and remained the property of Vickers the manufacturer. This situation was normalised once their capabilities were recognised.
Accomplishments of the Tallboy included the 24 June 1944 Operation Crossbow attack on La Coupole—along with Grand Slams—which undermined the foundations of the V-2 assembly bunker and a Tallboy attack on the Saumur tunnel on 8–9 June 1944, when bombs passed straight through the hill and exploded inside the tunnel below the surface.
The last of the Kriegsmarine's "Bismarck"-class battleships, the "Tirpitz", was sunk by an air attack using Tallboys in Operation Catechism.
Design.
Most large Allied, particularly British, Second World War aircraft bombs (blockbuster bombs) had very thin skins to maximize the weight of explosive that a bomber could carry. This was an improvement on the early part of the war when the explosive content of British bombs was low.
To be able to penetrate the earth (or fortified targets) without breaking apart, the casing of the Tallboy had to be strong. Each was cast in one piece of high-tensile steel that would enable it to survive the impact before detonation. At the same time, to achieve the penetration required, Wallis designed the Tallboy to be very aerodynamically clean so that, when dropped from a great height, it would reach a much higher terminal velocity than traditional bomb designs.
In the final design, the No. 78 Mark I tail of the bomb was about half the overall length of the finished weapon; the bomb casing was some of the overall length. Initially, the bomb had a tendency to tumble and the tail was modified; the fins were given a slight twist so that the bomb spun as it fell. The gyroscopic effect thus generated stopped the pitching and yawing, improving aerodynamics and accuracy.
The Tallboy was designed to be dropped from an optimal altitude of at a forward speed of , hitting at . It made a crater deep and across and could go through of concrete.
The weight of the Tallboy (approximately ) and the high altitude required of the bombing aircraft meant that the Avro Lancasters used had to be specially adapted. Armour plating and even defensive armament were removed to reduce weight, and the bomb-bay doors had to be adapted.
No. 617 Squadron were trained on the Stabilizing Automatic Bomb Sight (SABS). Corrections had to be made for temperature, wind speed and other factors. It was only effective if the target could be identified and several missions were cancelled or unsuccessful because of difficulty in accurately identifying and marking the targets.
For use on underground targets, the bomb was fitted with three separate inertia No. 58 Mark I Tail Pistols (firing mechanisms). These triggered detonation after a pre-set delay, which gave the bomb sufficient time to penetrate the target before exploding. Depending on mission requirements, the time delay could be set to 30 seconds or 30 minutes after impact.
To guarantee detonation, three Type 47 long delay fuzes were fitted inside the rear of the bomb. This dramatically improved reliability of the weapon; even if two of the fuzes failed, the third would trigger detonation. At least 2 Tallboys failed to explode, one during the second attack on the Sorpe dam; it was found during repairs in late 1958 when the reservoir was emptied and a second was found in Świnoujście in Poland (formerly Swinemünde) in 2020. While being remotely defused, this second bomb detonated in October 2020.
The bomb was aimed at the target during an operation and proved capable of penetrating deep into hardened reinforced concrete when it hit. This, however, was not the primary intention of Barnes Wallis's design. The bomb was designed to make impact close to the target, penetrate the soil or rock beneath or around the target, and then detonate, transferring all of its energy into the structure, or creating a camouflet (cavern or crater) into which the target would fall.
This 'earthquake' effect caused more damage than even a direct hit that penetrated the armour of a target, since even a burst inside a bunker would only damage the surroundings, with the blast dissipating rapidly through the air. An earthquake impact shook the whole target and caused structural damage to all parts of it, making repair uneconomic. The attack reports below should be considered with this in mind.
An alternative technique was to arrange detonation depth so that the crater broke the surface—useful for attacking railway marshalling yards and similar targets. The Tallboy produced an crater with depths up to , unlike conventional bombs which would produce many shallow craters across a target—each one of which could later be filled in rapidly with earth-moving equipment. Such a huge hole was time-consuming to fill; multiple trucks and bulldozers could not be fitted around the periphery of the hole to speed the process.
Manufacturing.
Tallboys were largely hand-made, requiring much labour during each manufacturing stage. The materials used were costly, with precise engineering requirements in casting and machining. To increase penetrative power, a large, specially hardened, steel plug had to be precisely machined and mated to a recess in the nose of the bomb. The ogive had to be perfectly symmetrical to ensure optimum aerodynamic performance. This was no easy task when manipulating a bomb casing with the size and weight of a Tallboy.
The Torpex filling was poured by hand into the base of the upturned casing after melting it in "kettles". The final stage of explosive filling required that a one-inch layer of pure TNT be poured over the Torpex filling, followed by sealing the base with a layer of woodmeal-wax composite with three cylindrical recesses fitted with the explosive boosters and into which three chemical time-fuses were inserted when the bomb was armed.
Tallboys were not considered expendable, and if not used on a raid were to be brought back to base rather than safely jettisoned into the sea. The value of the weapon offset the additional risk to the aircrew. Given their high unit cost, Tallboys were used exclusively against high-value strategic targets that could not be destroyed by other means. When it was found that the Lancaster could be modified to carry a bomb larger than the Tallboy, Wallis produced the even larger Grand Slam bomb.
Tallboy operations.
June – August 1944.
Operation Crossbow.
Crossbow was the code name for measures to counter the German V-1 flying bomb ("buzz bomb" or "doodlebug") and V-2 rocket weapons. Tallboys were used by the British to destroy several missile sites.
19 June 1944 – Watten
24 June 1944 – Wizernes
25 June 1944 – Siracourt V-1 bunker
4 July 1944 – Saint-Leu-d'Esserent
6 July 1944 – Mimoyecques
17 July 1944 – Wizernes
27 July 1944 – Watten
31 July 1944 – Rilly La Montagne
Sorties against German dockyards.
Shipping in the English Channel and the Atlantic Ocean were threatened by U-boats and E-boats stationed in France. U-boat docks were protected against conventional aerial bombardment by thick concrete roofs.
14 June 1944 – Le Havre
15 June 1944 – Boulogne harbour
5 August 1944 – Brest
6 August 1944 – Keroman
7 August 1944 – Lorient
8 August 1944 – La Pallice
28 August 1944 – IJmuiden
September – November 1944.
23/24 September 1944 – Dortmund-Ems Canal near Ladbergen, north of Münster
7 October 1944 – Kembs Dam north of Basle
15 October 1944 – Sorpe dam
Bombing sorties against "Tirpitz".
The German battleship Tirpitz was a threat against convoys sailing to and from the Soviet Union.
15 September 1944 – (Operation Paravane)
29 October 1944 – (Operation Obviate)
12 November 1944 – (Operation Catechism)
December 1944 – April 1945.
Bombing of [U-boat]] pens, December 1944 – April 1945
15 December 1944 – IJmuiden on the Dutch coast,
12 January 1945 – Bergen
3 February 1945 – IJmuiden & Poortershaven
9 April 1945 – Hamburg
18 April 1945 – Heligoland
19 April 1945 – Heligoland
8 December, 11 December 1944
21 December 1944 – Politz
14 March 1945 – Bielefeld and Arnsberg viaducts
15 March 1945 – Arnsberg viaduct
16 April 1945 – pocket battleship "Lützow"
25 April 1945 – Berghof
Post war.
The last of the V bombers – the Handley Page Victor – was designed to be able to carry a bomb load that could include a load of two Tallboys internally, or one Grand Slam plus assorted smaller weapons.
Unexploded ordnance.
In October 2020, a Tallboy bomb was found in the Piast Canal in northwest Poland near the town of Świnoujście and scheduled for defusing. The bomb had been dropped in the April 1945 attack on the "Lützow", a German cruiser. The Tallboy wound up detonating during a deflagration operation, but there were no reported injuries to divers nor any damage to the port infrastructure from the underwater explosion.
United States use.
The T-10 was an American-made version of the Tallboy modified to use standard American components. Development was started in late 1944 and plans were made to drop them on the island strongholds of the Pacific to aid in softening their defences before amphibious assaults. No bombs were used operationally since the capitulation of Japan following the atomic bombings of Hiroshima and Nagasaki negated their need. In the late 1950s the T-10 was re-designated the M-121. During the Korean War a number of T-10s were converted to the radio-guided Tarzon bomb and were dropped by Boeing B-29 Superfortresses to destroy railroad bridges and reservoir dams.
After the Korean War ended and the B-29 and B-36 bombers were retired, the United States Air Force no longer had an aircraft that could drop the M-121, and the bombs were put in storage. Production of the T-10 ended in 1955. The B-36 was the last operational aircraft that could drop a fully assembled Tallboy type bomb in the conventional way. During the Vietnam War, some M-121s, minus their rear streamlined shrouds and tail fin assemblies, were shipped to Vietnam for Commando Vault missions where the warheads were incorporated into the BLU-82 weapons dropped by C-130s using radar control in order to clear a helicopter landing zone. The warheads were mounted on a platform and pulled by parachutes from the rear-loading ramp of C-130s. After clearing the aircraft the large extraction chutes and pallets were cut away and small triangular chutes stabilized the large warhead until impact. A three-foot nose probe detonated the bomb at the correct stand-off distance. One of the last of the World War II Tallboy designs was dropped during a Commando Vault mission to clear a landing zone for helicopters on a ridge during the 1969 Battle of Hamburger Hill in Vietnam. Dropping from , the bomb hit exactly where it was needed. The Commando Vault missions were more accurate in bomb delivery on target than the more modern B-52s.
Work still progressed on the T-12 Cloudmaker, which could be carried by the Convair B-36A.
References.
, July 1944
, August 1944
, September 1944
, October 1944
,November 1944
, December 1944
, January 1945
, February 1945
, March 1945
, April and May 1945)