Trickster Online (also known as Trickster: Links to Fantasy, Trickster Online Revolution, Trickster Online: A New Discovery and Trickster Online: Season 2)  () was a free, 2D isometric MMORPG developed by the Korean company Ntreev Soft.

As of January 28, 2014, all Official Trickster Online servers have shut down.

On July 1, 2020, a trailer was released for Trickster:M, a new mobile MMORPG. After being delayed several times, Trickster:M was released in Korea on May 20, 2021.

Story
The characters compete in a "contest" to win treasure on an island organized by the late Don Cavalier. The story as a whole is heavily influenced by Greek mythology. Each section of the plot is split up into 6 episodes each unraveling a portion of the final story, which ends up being more than just a "treasure hunt".

Gameplay
Trickster Online is graphically an anime-inspired MMORPG. Gameplay in Trickster is mostly click-and-fire based; movement, combat, and many other commands are all controlled by mouse. Gameplay also includes a few non-combat "systems". First, there is the Drill System, in which a player drills in certain types of terrain for items and EXP. Second, there is the Card Battling System, which sets two characters against each other in a game of cards, played with card items found by various means during normal gameplay. The game is currently released under all its versions as a free-to-play MMORPG but with a Cash Shop feature, also known in game as MyShop, that allows purchase of in-game items through real cash/credit charging.

Leveling Up
There are two leveling systems: base leveling and TM leveling. Base leveling percentage is shown at the very top of the screen as a long yellow bar. When one levels up, they attain four points that they can allocate into 12 different stats (see below) in the "MyView" window. Base level is not only important for becoming more skilled in the 12 different stats but also in acquiring more powerful items. TM level percentage is displayed near the top of the "Skills" window and under the base leveling bar (as the green bar). When one levels up in this system, they get one point that they can allocate into a skill, learn a skill with, master a skill, or simply save for later.

Characters
There are 4 classes of characters differentiated by their primary statistics. These classes are then divided into 9 playable characters, 3 under power and 2 under the rest of each other type. Each character is associated with an animal and a profession, the former being reflected by a set of ears and a tail that are equipped by default on character creation. Male and female characters of the same type will have skills that are exactly alike. However, after the second advancement, the skills of the male and female character will branch off and differ from one another; finally, at the third advancement, the character may choose to focus on the type's skillset ('pure') or branch out ('hybrid')
 Power Type: This type of character focuses on physical combat. It includes Bunny (female), Polar Bear (female) and Buffalo (male) characters. On the second advancement, the Bunny will become a Boxer and will have skills that do focused damage on one target. The Buffalo will advance to the Warrior and focus on doing damage to multiple targets at once. The Polar Bear will advance into a Veterinarian that has skills focused on crazy drilling. For the third job, the Boxer may become a Champion or Duelist; the Buffalo may become a Gladiator or Mercenary; the Polar Bear will become a Zoologist
 Magic Type: This type of character focuses on casting spells, both for combat and recovery. It includes Sheep (female) and Dragon (male) characters. On the second advancement, the Sheep will become a Bard and have access to elemental spells. The Dragon will become a Magician and will obtain magic spells that deal light or dark-based damage. The Sheep may further advance to become a Soul Master or Witch; the Dragon may become a Dark Lord, Priest or Wizard who focuses on dark, light and balanced attacks respectively.
 Sense Type: This type of character uses long-range attacks, as well as having bonuses with drilling, and use guns. It includes Fox (female) and Lion (male) characters. On the second advancement, The Fox will become an Explorer, being able to throw certain items from afar and have skills which enable even more drilling bonuses. The Lion becomes an Inventor, who will have mostly skills associated with guns. For the third job, the Fox may become a Thief Master or Hunter Lord; the Lion may become a Scientist or Cyber Hunter.
 Charm Type: This type of character gets special bonuses to evasion and defense. It includes Cat (female) and Raccoon (male) characters. The Cat will become an Entertainer after the second advancement, being even more specialized with skills that increase her endurance. The Raccoon will become a Card Master, and have several skills that deal damage with cards and others that help with evasion after the advancement. For the third job, the Cat may become a Primadonna or Diva; the Raccoon may become a Gambler or Duke.

Stats
Character statistics and attributes in Trickster can be viewed through the "MyView" window during normal game play. There are a total of 13 different attributes that are grouped, 3 each, under the 4 broader headings of Power, Magic, Sense and Charm.
Each attribute is assigned a level, indicating the proficiency of the character in that particular attribute. To gain a level in an attribute, the 4 "pips" under the respective attribute must be filled, only after which will players will see an increase in the value for that attribute.

Skills
When TM levels up they can use the point earned in one of the skills bought. To buy a skill, the player must go to a skill shrine to buy a skill card from a skill master. There is one skill master for each of the four classes. Once a player has bought a skill card, they must use the card so that it may be learned. TM points must be used to learn the skill initially, and the person's TM level must also be high enough to learn the skill. Once a skill reaches a certain level by putting TM points into it, the skill can be mastered for it to be any further improved, This is also the final improvement and provides a more powerful boost to the skill than any other improvement.  To master a skill, the player must go to a skill master who will then tell how much of an item the player needs to get, along with how many TM points needed to master the skill. When the player reaches base level 50, TM level 40, they can be promoted to the second job where they can access more skills. There are different skill builds for different characters on various websites.

Trickster Online Versions

References

External links
 ETO - North America Official Page.
 TTO - Thailand Official Page.

2003 video games
Massively multiplayer online role-playing games
Products and services discontinued in 2013
Products and services discontinued in 2014
Video games developed in South Korea
Windows games
Windows-only games
Inactive massively multiplayer online games
Netmarble games
Gamigo games
Gamepot games

Trickster Online


{{Infobox comic
| name              = Guardians of the Lost Library
| image             = Theguardiansoflost.jpg
| image_caption     = Original cover of "Guardians of the Lost Library". Art by Don Rosa.
| code              =
| title_orig        =
| hero              = The Junior Woodchucks
| appearances       = The Junior WoodchucksScrooge McDuckGeneral SnozzieDonald DuckGrand Mogul
| pages             = 28
| layout            = 4 rows per page
| story             = Don Rosa
| ink               = Don Rosa
| date              =
| first             = Uncle Scrooge Adventures #27July, 1994
}}
"Guardians of the Lost Library" is a 1993 comic book story made by Don Rosa for The Walt Disney Company, mentioned by Comics Buyer's Guide as "possibly the greatest comic book story of all time". Although afraid at the time of its creation of cramming too many historical details into the story, Rosa himself mentions in Uncle Scrooge #383 (November, 2008) that in fan mail he receives to this day, "Guardians of the Lost Library" to his own surprise is often referred to as "'the best Rosa story' or 'the best Duck story' or even 'the best comic book story' (?!!) that fans say they've ever read."In this story Scrooge McDuck, Huey, Dewey and Louie, and General Snozzie search for the Lost Library of Alexandria. This story was Don Rosa's first use of General Snozzie, the Junior Woodchucks bloodhound.

The story was first published in the Danish Anders And & Co. #1993-42; the first American publication was in Uncle Scrooge Adventures #27, in July 1994.

 Background
Rosa created "Guardians of the Lost Library" at the request of Scandinavia-based, European Disney publisher Egmont in reference to the fact that Norway had officially declared 1993 to be "The Year of The Book" in order to promote reading (as the story was published in Norway and Denmark in 1993, one year prior to its first edition in the original English). Rosa figured that he would honor the written word best by sending the Ducks on an epic quest for the Library of Alexandria, where he:"could show the evolution of books from papyrus scrolls through parchment tomes and the first Gutenberg volumes on up to the present day. [...] In the process, it was easy to show how books have recorded and even inspired the advancements of science and art through the ages [...]. And what could be better than for the key to tracing the Library around the world be that most famous mythical book of all - the Junior Woodchuck Guidebook?!" Plot
Donald Duck and his nephews go to the new Woodchuck Museum to see the exhibit on artifacts from the first Junior Woodchucks. The nephews are particularly enthusiastic about an old, worn, massive volume that is the oldest known copy of the Junior Woodchucks Guidebook.

Scrooge McDuck is also there to get a copy of the Guidebook, which he knows contains an enormous wealth of information. However, the scoutmaster refuses, on the regulation that McDuck is too old to join the organization, and only members are allowed to read its guidebook. Also the scoutmaster suspects, correctly, that Scrooge would use the information mainly to enrich himself, as he has recently done by acquiring the entire log books of the 16th century Spanish fleet to find lost treasures. Scrooge tells the nephews that he would like to find the Library of Alexandria for the same purpose. The head of The Junior Woodchucks organization agrees to sponsor Scrooge's trip in the name of science as well as lend out General Snozzie, the Woodchucks bloodhound. Scrooge and the nephews set out to find the lost library, leaving behind Donald totally oblivious to the events as he sits constantly glued to the TV, currently holding the occupation of Scrooge's Money Bin guard.

They set out to Egypt, where they find an underground chamber with a million bronze tubes containing the original scrolls of the Library of Alexandria. Unfortunately, it turns out that the scrolls have long crumbled to dust. Cleopatra had however founded a special organization, "The Guardians of the Great Library", to protect the unique book collection. Still in operation centuries later, the Guardians had complete parchment copies made shortly before the burning of the library which were shipped to Byzantium, Greece around 400AD, to become known as the Library of Constantinople.

In Istanbul, modern-day Turkey, these "100,000 parchment scrolls" ("perhaps they left out the plays and poetry") once were "the light of the Dark Ages for 800 years" and had "the books from the great libraries of Islam" added to them over time. However, the entire collection finally perished in a fire. Yet the contents survived, since for centuries the Orthodox monks had copied them into the modern technology of 10,000 manuscripts (with each hand-written book holding 10 original scrolls). This Byzantine Library of manuscripts was however stolen in 1204 in the Sack of Constantinople during the Fourth Crusade, crusader knights bringing the books to Venice.

In Venice, these books were kept in an abbey whose library henceforth "sparked the Renaissance", inspired "Leonardo and Michelangelo", and motivated Marco Polo and his father to journey to the Orient, paying back the library by adding the Great Books from Kublai Khan's Empire of Cathay to it upon Marco's return. The Venice Library was lost in 1485 during the collapse of the abbey's bell tower, but following the invention of movable type printing by Johannes Gutenberg in 1439, the rotting books had been saved in their entirety by making their first typeset copy "of about 1,000 volumes", with each typeset book containing 10 manuscripts.

Inspired by Phoenician accounts dating 600BCE of rich new lands beyond the Western ocean in the books, Lorenzo de Medici sent a bookdealer named Cristobal Colon in 1484 to buy these 1,000 volumes, but Colon never turned the books over to the Medici family. When Scrooge and the nephews find out that the English name of this bookdealer-turned sailor happens to be Christopher Columbus and that Columbus's private library is in Seville, Spain, Scrooge is pacing out the door, "already halfway across France".

In the Biblioteca Colombina, they are forced to decipher Columbus' private notes hand-written in a secret, unknown code by means of the Woodchuck Guidebook, to find out Columbus had the library moved to Santo Domingo in 1498, far from the reach of the Medici and the Spanish King, but Ferdinand II of Aragon soon found out and had Columbus put into chains.

Scrooge and the nephews hurry back to Duckburg (where they encounter Donald still in front of the TV, making condescending remarks about their passion for "some dusty old library books") to search Scrooge's above-mentioned Spanish logs to find out whether the library had ever been removed from the island. Apparently, Francisco Pizarro had it moved to his new capital, modern-day Lima, Peru in 1535, where beginning in 1551, the scholars at San Marcos University added "all the knowledge of the Mayans, Aztecs, Incas, and Olmecs". When the Spanish tried to send the library home to Spain in 1579, the ships were captured by Sir Francis Drake. As the battle had damaged his own ship, Drake was forced to go ashore on the coast of Nova Albion, founding Fort Drake Borough which later became Duckburg, for the sole purpose of burying the library below the fort, on Killmotor Hill where Scrooge built his Money Bin in 1902 (see Fort Duckburg).

Hurrying into old caves and bricked gangways Scrooge never explored before below the Bin, they find a large crypt full of old books. On closer inspection, only the covers are left, since the vellum pages turn out to have been eaten by rats. Scrooge is furious because the library seems to have perished once and for all.

However, in the middle of the room stands a metal case, with the emblem of the Guardians of the Lost Library our heroes first saw in Egypt: an Ibis symbolizing Thoth, the Egyptian deity of wisdom and writing. An inscription on a metal plate by the last survivor of Drakeborough tells how he, on Drake's orders, had the library condensed into one single volume with every information no other surviving book in the world included. As the Lost Library's last guardian, he had this one book sealed into this rat-proof metal box. Scrooge is triumphant that the unique essence of the library seems to have survived after all, but upon opening the box he is deeply frustrated to find it empty.

The nephews stitch the remaining puzzle together: the British didn't find the library when they reoccupied Drakeborough, but Cornelius Coot, the founder of the City of Duckburg, found it during the late 18th century, and left the book to his son Clinton Coot, the founder of the Junior Woodchucks. The very volume that was on display in the Woodchuck Museum at the beginning of the story, it was used as the framework for the Junior Woodchuck's Guidebook, the only one book in the world Scrooge cannot buy. This not only explains why the Guidebook facilitated them to follow the trail of the Lost Library all over the world with its enormous knowledge base, but also the fact the Junior Woodchuck's logo, based on the letters J and two Ws, looks uncannily like the inverted Ibis emblem of the Guardians of the Lost Library.

Later on, Scrooge comments on how depressed he is about not getting the books he has traveled all over the globe for, until the boys remind him that he would have had to turn the library over to Alexandria. Scrooge gets excited about how much money he saved on the fine he would have had to pay otherwise for 100,000 library scrolls each overdue for 2,000 years, and Donald complains about the noise drowning out the TV, muttering "Cripes! They're still going on about their stupid library! As if messing with books was as interesting as watching TV! Hah! That'll be the day!"

 Historical accuracy
The story contains at least one potential historical error: It apparently claims that Alexander the Great intended Alexandria to be the capital of his empire. Actually, he built it to be the capital of Egypt but not of the entire empire. Babylon was the capital of Alexander's empire, even though Alexandria became the capital of the diadochic Ptolemaic Kingdom under Alexander's immediate successor Ptolemy I Soter.

The exact quote found in "Guardians of the Lost Library", "The city was founded by Alexander the Great in the fourth century B. C. to be the capital of his empire!" is a bit ambiguous, meaning either that it was Alexander's direct personal intention or that it was about to happen independently of whatever Alexander had intended.

 Disney and in-universe references
 Disney reference
Scrooge makes a reference to Mickey Mouse not being published anymore. That was true during the time this story was first published but it was mainly used as an inside joke.

 Duckburg genealogy
The names Fulton Gearloose and Clinton Coot were first used in this story but it was not revealed that they were the fathers of Gyro Gearloose and Grandma Duck, respectively.

 Other stories by Don Rosa
"Guardians of the Lost Library" was later referenced in Part 10: The Invader of Fort Duckburg (1994), of Don Rosa's The Life and Times of Scrooge McDuck where in 1902 the first three Junior Woodchucks are expelled from their former headquarter, the ruins of Fort Duckburg recently bought by Scrooge. As the boyscouts walk down Killmotor Hill, along with some JWC pennants they carry a large, old volume with the Iris Emblem of the Guardians of the Lost Library with them. One of the Junior Woodchucks says "Someday we've just got to make pocket-size copies of this monster!"

As the condensed book passed on by the last survivor of Drakeborough and found by Clinton Coot is the framework for the first edition of the Junior Woodchucks Guidebook, in Rosa's later story The Lost Charts of Columbus (1995), the Junior Woodchucks intend to raise funds for excavations at the site of Cleopatra's hidden library in Egypt before it was brought to Byzantium. So they organize a raffle and Gladstone Gander wins a fishing trip to Canada, where he recovers the Golden Helmet from Barks's eponymous story, allowing Azure Blue to resume his plans of owning North America. Above-mentioned ancient Phoenician accounts of the Americas having inspired Lorenzo de Medici and Christopher Columbus in "Guardians of the Lost Library" are revisited in this story as well.

 Publication history

"Guardians of the Lost Library" was first published in Uncle Scrooge Adventures #27, July, 1994. Compared to European prints, this original English-language edition was of a poor quality where on a number of pages the CMYK printing plates had been misaligned resulting in more than obvious color fringing.

The story was eventually re-published at a higher printing quality in Gemstone's 60 Years of Uncle $crooge celebratory edition Uncle Scrooge #383, November, 2008 (which turned out to be Gemstone's ultimate Disney comic publication, as Boom! Kids was about to take over publishing Disney's classic characters starting September, 2009). Again, original art by Rosa was used for the cover, however the artwork used for the 2008 reprint had been initially made by Rosa not specifically as cover art but as part of a series of collectibles related to his stories that had been originally published by French Disney magazine Picsou Magazine'' in 2004. While the 2008 reprint featured a superior printing quality and the 2008 cover was shaded as usual with North American Disney comics, with the reprinted story itself Gemstone replaced Gladstone Publishing's 1994 finer-graded colorization featuring many soft gradients with Egmont's European solid-hue color scheme.

References

External links

Disney comics stories
Donald Duck comics by Don Rosa
1994 in comics
Ancient Alexandria in art and culture
Comics set in Egypt
Comics set in Turkey
Comics set in Greece
Comics set in Venice
Cultural depictions of Alexander the Great
Cultural depictions of Christopher Columbus
Cultural depictions of Francis Drake
Cultural depictions of Johannes Gutenberg
Cultural depictions of Kublai Khan
Cultural depictions of Leonardo da Vinci
Cultural depictions of Michelangelo
Cultural depictions of Francisco Pizarro
Cultural depictions of Marco Polo
Depictions of Cleopatra in comics
Comics about treasure hunting
Cultural depictions of Ferdinand II of Aragon

sv:Bibliotekets beskyddare

Guardians of the Lost Library


Moana (also known as Vaiana or Oceania in some markets) is a 2016 American animated musical fantasy action-adventure film produced by Walt Disney Animation Studios and released by Walt Disney Pictures. The film was directed by John Musker and Ron Clements, co-directed by Chris Williams and Don Hall, and produced by Osnat Shurer, from a screenplay written by Jared Bush and a story by Clements, Musker, Williams, Hall, Pamela Ribon, and the writing team of Aaron and Jordan Kandell.

The film stars Auliʻi Cravalho as the voice of Moana and also features the ensemble voices of Dwayne Johnson, Rachel House, Temuera Morrison, Jemaine Clement, Nicole Scherzinger, and Alan Tudyk. It features original songs written by Lin-Manuel Miranda, Opetaia Foa'i, and Mark Mancina, and an orchestral score also composed by Mancina. The film is set in ancient Polynesia and tells the story of Moana, the strong-willed daughter of a chief of a coastal village, who is chosen by the ocean itself to reunite a mystical relic with the goddess Te Fiti. When a blight strikes her island, Moana sets sail in search of Maui, a legendary demigod, in hopes of returning the relic to Te Fiti and saving her people. The plot is original, but takes inspiration from Polynesian myths.

Moana premiered during the AFI Fest at the El Capitan Theatre in Los Angeles on November 14, 2016, and was released theatrically in the United States on November 23. The film received positive reviews from critics, who praised its animation, music, and vocal performances. The film went on to gross over $682 million worldwide. Along with Zootopia, it marked the first time since 2002 that Walt Disney Animation Studios released two feature films in the same year, after Lilo & Stitch and Treasure Planet. At the 89th Academy Awards, the film received two nominations for Best Animated Feature and Best Original Song ("How Far I'll Go"). A live-action remake is scheduled for release in 2025, with Johnson reprising his role, while a spin-off series is scheduled to premiere on Disney+.

Plot

On the Polynesian island of Motunui, the inhabitants worship the goddess of nature, Te Fiti; a living island who, long ago, brought life to the ocean using a pounamu stone as her heart and the source of her power. Maui, the trickster, shape-shifting demigod of the wind and sea and master of wayfinding, steals the heart to give humanity the power of creation. This causes Te Fiti to disintegrate, and Maui is attacked by Te Kā, a volcanic demon. He loses both the heart and his magic fish hook to the depths of the sea.

A thousand years later, the ocean chooses Moana, daughter of Motunui's chief Tui, to return the heart to Te Fiti. Tui and Sina, Moana's father and mother, try to keep her away from the ocean to prepare her to become the island's chief. Sixteen years later, blight strikes the island, killing vegetation and shrinking the fish catch. Moana suggests going beyond the island's reef with her pet pig Pua to find more fish and find out what is happening, but Tui forbids it. Moana tries conquering the reef, but is overpowered by the tides and shipwrecked. That afternoon, Moana's grandmother Tala shows her a secret cavern of ships and reveals their people were voyagers until Maui stole Te Fiti's heart; the ocean was no longer safe without it. Tala explains Te Kā's darkness is destroying the island, but can be cured if Moana finds Maui and has him restore the heart of Te Fiti. Having been given the heart by the ocean, Tala gives it to Moana. Tala later gets severely sick, and on her deathbed, tells Moana she must depart to find Maui.

Moana sets sail on a camakau from the cavern along with her dimwitted pet rooster, Heihei, who stowed away on it. They are caught in a typhoon and shipwrecked on an island, where she finds Maui, who boasts about his achievements. She demands Maui return the heart, but he refuses and traps her in a cave before leaving on her boat. She escapes and confronts Maui, who reluctantly lets her on the camakau. They are attacked by Kakamora, coconut pirates who seek the heart, but Moana and Maui outwit them. Moana realizes Maui is no longer a hero since he stole the heart and cursed the world, and convinces him to redeem himself by returning the heart. However, Maui first needs to retrieve his magical fishhook in Lalotai, the Realm of Monsters, from Tamatoa, a giant coconut crab. While Moana distracts Tamatoa, Maui retrieves his hook, only to find himself unable to control his shape-shifting. He is overpowered by Tamatoa, but Moana's quick thinking allows them to escape with the hook. Maui reveals his first tattoo was earned when his mortal parents abandoned him as an infant, and the gods, taking pity on him, granted him his powers. After reassurance from Moana, Maui teaches her the art of way-finding, regaining control of his powers, and the two grow closer.

They arrive at Te Fiti's island, only to be attacked by Te Kā. Moana refuses to turn back, resulting in Maui's hook being badly damaged. Unwilling to lose his hook again, Maui abandons Moana, who asks the ocean to find someone else to restore the heart and loses hope. The ocean obliges and takes the heart, but Tala's spirit appears, inspiring Moana to find her true calling. She retrieves the heart and sails back to confront Te Kā. Maui returns, having had a change of heart, and buys Moana time to reach Te Fiti by fighting Te Kā, destroying his hook in the process. Upon being unable to find Te Fiti, Moana realizes Te Kā is Te Fiti, who became corrupted without her heart. The ocean clears a path for Moana, allowing her to return the heart to Te Fiti, who heals the ocean and islands of blight. Maui apologizes to Te Fiti, who fixes his hook as well as Moana's boat before falling into a deep sleep and becoming an island. Moana bids farewell to Maui and Te Fiti, returning home and reuniting with her parents. She takes up her role as chief and wayfinder, leading her people as they resume voyaging, accompanied by Maui.

Cast

 Auliʻi Cravalho as Moana, the curious daughter of village chief Tui and his wife Sina, who is chosen by the ocean to restore the heart of Te Fiti
 Cravalho reprised her role in the film's Hawaiian-language version.
 Louise Bush as young Moana
 Dwayne Johnson as Maui, a legendary strong-willed yet easily annoyed shapeshifting demigod who sets off with Moana on her journey
 Rachel House as Tala, Tui's mother and Moana's paternal grandmother. Like Moana, Tala shares a passion for the ocean and the two have a very deep bond.
 House reprised her role in the film's Māori-language dub.
 Temuera Morrison as Tui, Moana's overprotective father, Sina's husband, and Tala's son. He is chief of Motunui Island.
 Morrison reprised his role in the film's Māori-language dub.
 Christopher Jackson as Tui's singing voice
 Jemaine Clement as Tamatoa, a giant, villainous, treasure-hoarding coconut crab from Lalotai, the Realm of Monsters.
 Clement reprised his role in the film's Māori-language dub.
 Nicole Scherzinger as Sina, Moana's mother, Tui's wife, and Chieftess of Motunui.
 Scherzinger also reprised her role in the film's Hawaiian-language dub.
 Alan Tudyk as Heihei, Moana's pet rooster
 Tudyk also voices Villager No. 3, an old man who suggests cooking Heihei
 Oscar Kightley as a fisherman
 Troy Polamalu as Villager No. 1
 Puanani Cravalho (Auli'i Cravalho's mother) as Villager No. 2

Production

Development

After directing The Princess and the Frog (2009), Clements and Musker started working on an adaptation of Terry Pratchett's Mort, but problems with acquiring the necessary film rights prevented them from continuing with that project. To avoid a recurrence of that issue, they pitched three original ideas. The genesis of one of those ideas (the one that was ultimately green-lit) occurred in 2011, when Musker began reading up on Polynesian mythology, and learned of the heroic exploits of the demigod Māui. Intrigued with the rich culture of Polynesia, he felt it would be a suitable subject for an animated film. Shortly thereafter, Musker and Clements wrote a treatment and pitched it to John Lasseter, who recommended that both of them should go on research trips. Accordingly, in 2012, Clements and Musker went on research trips to Fiji, Samoa, and Tahiti to meet the people of the South Pacific Ocean and learn about their culture. At first, they had planned to make the film entirely about Maui, but their initial research trips inspired Clements to pitch a new idea focused on the young daughter of a chief.

Clements and Musker were fascinated to learn during their research that the people of Polynesia abruptly stopped making long-distance voyages about three thousand years ago. Polynesian navigational traditions had long predated those of European explorers, beginning around 300 CE. Native people of the Pacific possessed knowledge of the world and their place in it prior to the incursion of foreigners. For example, Kānaka Maoli (Native Hawaiians) were well aware of the existence of far away islands, had names for these places, and were interested in exploring them to benefit their societies. This voyaging heritage was made possible by a geographical knowledge system based on individual perspective rather than the European cardinal direction system. The reasons for the halt of this voyaging tradition remain unknown, but scholars have offered climate change and resulting shifts in ocean currents and wind patterns as one possible explanation. Native peoples of the Pacific resumed voyaging again a thousand years later. Clements and Musker set the film at that point in time, about two thousand years ago, on a fictional island in the central Pacific Ocean, which drew inspiration from elements of the real-life island nations of Fiji, Samoa, and Tonga. Although, Motunui is actually a real islet located south of Easter Island in Chilean Polynesia.

Over the five years it took to develop and produce the film, Clements and Musker recruited experts from across the South Pacific to form an Oceanic Story Trust, who consulted on the film's cultural accuracy and sensitivity as the story evolved through nine versions. The Trust responded negatively, for example, to a depiction of Maui as bald, and to a proposed scene in which Moana threw a tantrum by throwing coconuts. In response, Maui was reworked with long hair and the coconut scene was scrapped.

During the 2015 D23 Expo's panel for Disney's slate of upcoming animated films, Moana's last name was given as "Waialiki", but that name was not retained in the final film.

Writing
Taika Waititi wrote the initial screenplay, but went home to New Zealand in 2012 to focus on his newborn first child and What We Do in the Shadows. Years later, Waititi joked that all that was left of his original draft was "EXT: OCEAN – DAY". The first draft focused on Moana as the sole daughter in a family with "five or six brothers", in which gender played into the story. However, the brothers and gender-based theme were deleted from the story, as the directors thought Moana's journey should be about finding herself. A subsequent draft presented Moana's father as the one who wanted to resume navigation, but it was rewritten to have him oppose navigation so he would not overshadow Moana. Instead, Pamela Ribon came up with the idea of a grandmother character for the film, who would serve as a mentor linking Moana to ancient traditions. Another version focused on Moana rescuing her father, who had been lost at sea. The film's story changed drastically during the development phase (which happens with most Disney films), and that idea ultimately survived only as a subtle element of the father's backstory.

Te Kā was referred to in early drafts of the film as Te Pō, a reference to the Māori goddess Hine-nui-te-pō, who was originally the life-giving goddess Hine-tītama, but became the goddess of death upon discovering that her husband, the god Tāne, was also her father. Māui set out to defeat her in order to bring immortality to humans, but failed and was himself killed.

Aaron and Jordan Kandell joined the project during a critical period to help deepen the emotional story architecture of the film. They are credited with developing the core relationship between Moana and Maui, the prologue, the Cave of the Wayfinders, the Kakamora, and the collector crab Tamatoa (played by Jemaine Clement). Jared Bush received sole credit as the writer of the final version of the screenplay.

Several major story problems were identified in 2015 after the film had already transitioned from development into production, but computer-generated films tend to have much shorter production schedules and much larger animation teams (in this case, about 90 animators) than traditionally animated films. Since Clements and Musker were already working 12-hour days (and Saturdays) directing such a large team of animators, Don Hall and Chris Williams (who had just finished directing Big Hero 6) came on board as co-directors to help fix the film's story issues. The scene in which Maui and Moana encounter the Kakamora is an intentional homage to Mad Max: Fury Road.

Casting

After the filmmakers sat through auditions of hundreds of candidates from across the Pacific, 14-year-old high school freshman Auliʻi Cravalho was cast as the lead character Moana. At that point in time, the design of Moana's face and personality was already complete, and Cravalho's obvious physical resemblance to her character was simply a coincidence. During animation production, Disney animators were able to integrate some of Cravalho's mannerisms into Moana's behavior as depicted onscreen.

The majority of the film's cast members are of Polynesian descent: Auliʻi Cravalho (Moana) and Nicole Scherzinger (Sina, Moana's mother) were born in Hawaii and are of Native Hawaiian heritage; Dwayne Johnson (Maui), Oscar Kightley (Fisherman), and Troy Polamalu (Villager No. 1) are of Samoan heritage; and New Zealand-born Rachel House (Tala, Moana's grandmother), Temuera Morrison (Tui, Moana's father), and Jemaine Clement (Tamatoa) are of Māori heritage.

Animation
Moana is Clements and Musker's first fully computer-animated film. One of the reasons for using computer animation was that the environment, including the ocean, benefited much more from the use of CGI as opposed to traditional animation. The filmmakers have also suggested that three-dimensional computer animation is well-suited to the "beautiful sculpturing" of the faces of the people of the South Pacific. Eric Goldberg worked on the hand-drawn animation used to depict Maui's sentient tattoos. During early development, the filmmakers considered the possibility of making the film with hand-drawn traditional animation, but only a few early animation tests were made in that style. In the final cut, only Maui's tattoos are hand-drawn.

Moana was produced in makeshift quarters in a giant warehouse in North Hollywood (together with Zootopia), while Disney Animation's headquarters building in Burbank was being renovated. Musker observed that Moana was similar in that respect to The Little Mermaid, which was produced in a warehouse in Glendale. Production wrapped on October 20, 2016.

Music and soundtrack

The film's soundtrack was released by Walt Disney Records on November 18, 2016. The songs were written by Opetaia Foa'i, Mark Mancina, who previously collaborated with the studio on Tarzan and Brother Bear, and Lin-Manuel Miranda, while the score was written by Mancina. The lyrics are in English, Samoan, and the Tokelauan language. The soundtrack peaked at number two on the Billboard 200.

Localization

In many European countries, the name of the titular character, Moana, was changed to Vaiana due to a trademark conflict. The film was released in those countries to bear the alternative name in the title. In Italy, the film was released with the title Oceania: media outlets speculated that the name change was to avoid confusion with Italian pornographic actress Moana Pozzi, and Disney Italy's head of theatrical marketing, Davide Romani, acknowledged they were "thinking about the issue" at a meeting of Italian exhibitors in 2015.

Following the success brought by international productions of Disney's Frozen, which led to the release of a complete set album which included all the official versions of "Let It Go" released at the time, Disney decided to produce a special Tahitian dubbing for the film. On October 25, 2016, at a press conference in Papeete, it was announced that the film will be the first motion picture to be fully dubbed in the Tahitian language. This marks the second time Disney has released a special dubbing dedicated to the culture which inspired the film: the first case was The Lion King (1994), for which the directors travelled to South Africa to cast voice actors for a Zulu-dubbed version. The Tahitian dubbing was made available in schools and institutions, but never for the public to purchase.

In June 2017, a Māori-language dubbing of the film was announced, premiering in Auckland on September 11, with 30 theatres screening it for free as part of Māori Language Week. Rachel House, Jemaine Clement, Temuera Morrison, and Oscar Kightley reprised their respective roles in this version, directed by Rachel House herself. In contrast to the Tahitian dubbing, the Māori version was made available for purchase in Australia and New Zealand, and the soundtrack was uploaded on Disney's official Vevo channel.

In November 2017, a Hawaiian-language (ʻŌlelo Hawaiʻi) dubbing was announced to be under way, with Aulii Cravalho reprising her role as Moana and Nicole Scherzinger reprising the role of Sina. The film premiered on June 10, 2018, and like the Tahitian dubbing, was later distributed for free to schools in Hawaii. It was never released for sale in home media form.

Release
On October 20, 2014, Walt Disney Pictures announced that it would be releasing the film in late 2016, and hinted that it might be the November 23, 2016, release window previously announced by the studio in March 2014 for a then-untitled film. In November 2014, Disney confirmed that it would be releasing the film on November 23, 2016. The film is accompanied by the short film Inner Workings. The film's world premiere was held at the El Capitan Theatre in Los Angeles on November 14, 2016.

On January 27, 2017, a sing-along version of Moana was released in more than 2,000 theaters in the United States, featuring on-screen lyrics.

As part of Disney's 100th anniversary, Moana was re-released between October 13 to 26, 2023 in the United States, on October 14 in Helios theaters across Poland, and between October 26 to November 1 in Latin America opposite Coco. This re-release included the short Once Upon a Studio, which was shown before the film.

Marketing

On October 15, 2016, Hawaiian Airlines unveiled their Moana-themed livery for three of their Airbus A330-200 fleet. Disney initiating a partnership with Hawaiian Airlines to promote the film has been perceived as having the motive of fetishizing Polynesian island nations as exotic vacation spots, the people and culture of which exist only to entertain foreign audiences, as well as Auliʻi Cravalho speaking with The New York Times in an interview sharing travel tips for visitors to Hawaii. Critiques of these promotional tactics focus on how adverse effects of tourism have devastated native communities in the Pacific, resulting in environmental degradation and poverty.

A Maui "skin suit" costume made to tie in with the film was pulled by Disney from its online store following complaints about it being culturally insensitive and for appearing to promote brownface.

There are currently meet-and-greets with Moana at Disneyland, Walt Disney World, Disneyland Paris, and at Aulani, a Disney Resort and Spa. At the parks, she is located in Adventureland and is occasionally joined by Maui.

At Hong Kong Disneyland, there is a stage show called Moana's Village Festival, which opened in 2018.

Home media
Moana was released by Walt Disney Studios Home Entertainment on Blu-ray (2D and 3D) and DVD in the United States on March 7, 2017, with a digital release on February 21, 2017. The releases include the short film Inner Workings. The Blu-ray release also introduces a short film featuring Maui and Moana titled Gone Fishing. The film sold 4.4 million units and made a revenue of $116.3 million from home video sales, making it the best-selling film of 2017. Moana was also released on the streaming service Disney+ on its launch date November 12, 2019. A sing-along version of the film was released on Disney+ July 22, 2022.

Reception

Box office
Moana grossed $248.7 million in the U.S. and Canada, and $442.1 million in other countries, for a worldwide total of $690.8 million. On January 22 and March 16, 2017, respectively, the film reached the $500 million and $600 million marks, becoming the fourth consecutive Walt Disney Animation Studios film to reach both milestones after Frozen (2013), Big Hero 6 (2014), and Zootopia (2016). Although Disney has not disclosed the film's production budget, most of its animated films cost around $150 million. Deadline Hollywood calculated the net profit of the film to be $121.3 million, when factoring together all expenses and revenues for the film, making it the 12th-most profitable release of 2016.

North America
In the United States, Moana was released during the Thanksgiving weekend. The film played in 3,875 theaters of which a majority of them (80%) screened it in 3D. It also played in 50 premium large-format screens and more than 400 D-Box screens. It was projected to take in around $50 million in three days, with $75–85 million in five days (some estimates going as high as $90 million). Deadline.com said the numbers were good for the original Disney film and marked a great rebound for the company in the wake of Pixar's The Good Dinosaur the previous year, which had made $55 million over five days off a production budget of $175–200 million.

Moana made $2.6 million from Tuesday paid previews which began at 7 pm, the highest ever for a Walt Disney Animation Studios film and for a non-Pixar Disney animated film. On its opening day, it made $15.5 million, a new record for a Walt Disney Animation Studios film opening on Wednesday (breaking Frozens record) and the biggest opening day ever for a film released on pre-Thanksgiving Day. On Thanksgiving Day, it earned $9.9 million, a decrease of 36% from its previous day. On Black Friday—the highest-grossing day of the Thanksgiving stretch—it made $21.8 million, a 127% increase from the day before. Through Sunday, the film posted a three-day opening weekend worth $56.6 million over its Friday-to-Sunday debut and $82.1 million from Wednesday to Sunday, the third biggest three-day Thanksgiving opening (behind Frozen and Toy Story 2) and the second-biggest five-day Thanksgiving opening (behind Frozen), dethroning Fantastic Beasts and Where to Find Them off the top spot. Among all films that did not necessarily open in this weekend but may have played, Moana ranks sixth among three-day weekends and fifth among five-day weekends.

The film's opening was considered to be another animated success for the studio after Zootopia and Pixar's Finding Dory posted huge openings, respectively, the same year in March and June.

In its second weekend, the film dropped by about 50% for a total of $28.3 million, a smaller drop than Toy Story 2, Frozen, Tangled, and The Good Dinosaur. The film managed to top the box office for its third weekend, despite competition from newcomers and holdovers, earning $18.5 million while falling by 34%. It became the sixth film of 2016 to top the box office three times, following Deadpool, Zootopia, The Jungle Book, Finding Dory, and Suicide Squad. The film was overtaken by Disney's own Rogue One: A Star Wars Story in its fourth weekend, despite only a marginal decline.

It fell to number six in its fifth weekend, due to competition from four new releases—Sing, Passengers, Why Him?, and Assassin's Creed—despite a small drop again; it grossed $2.9 million on Christmas Day. On the holiday week of December 23–29, the film finished at number four with a gross of $26 million, which was 14% up from the previous week, despite losing over 300 theaters. It finished at number four in its sixth weekend, going up 42% and 97%, respectively, during the three-day and four-day weekends; it grossed $3.6 million on New Year's Day.

It fell outside the top ten in its eighth weekend (which included Martin Luther King Jr. Day), dropping 33% and 4%, respectively, during the three-day and four-day weekends.

Outside North America
Internationally, the film earned $17.2 million in its first weekend from 12 markets, the bulk of which came from China. In its second weekend, the film expanded to a total of 30 markets, adding an additional $33.7 million.

In China, the film had a November 25 opening day with $1.9 million from 38,000 screenings. However, it enjoyed a big weekend bump on Saturday—even though its screens dipped—and Sunday. In total, it scored an opening weekend of $12.3 million, the second best for a Disney animated title, behind only Zootopia. It was No. 2 behind Fantastic Beasts and Where to Find Them. Strong social media numbers showed among the highest the studio has seen there, similar to how Zootopia started off slow and later became a blockbuster phenomenon. The film slipped 55% in its second weekend, earning $5.8 million, and $21.8 in total in China. It would eventually earn a total of $32.7 million in China.

It had similar successful number-one debuts in France, Russia, Mexico and Spain. The film also saw success in Belgium, the Netherlands and French-speaking Switzerland. In the United Kingdom and Ireland, the film faced competition from Fantastic Beasts—which was playing in its third weekend—and as a result, it posted a low opening of only £2.2 million ($2.8 million).

The biggest earning markets to date have been Japan ($45.9 million), followed by France ($35.5 million), China ($32.8 million), the UK ($25.3 million), Brazil ($22.9 million), Australia ($19 million), Germany ($17 million), Italy ($15.9 million), and South Korea ($15.5 million).

Critical response
On review aggregator website Rotten Tomatoes, Moana holds an approval rating of  based on  reviews and an average rating of . The website's critical consensus reads "With a title character as three-dimensional as its lush animation and a story that adds fresh depth to Disney's time-tested formula, Moana is truly a family-friendly adventure for the ages." Subsequently, the film is also listed as number 18 on the website's "100 Best Computer-Animated Movies" list. On Metacritic, the film holds a weighted average score of 81 out of 100, based on 44 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave an 89% overall positive score and a 79% "definite recommend".

Joe Morgenstern of The Wall Street Journal proclaimed that "Moana is beautiful in more ways than I can tell, thanks to the brilliance of more animators than I could count." Animator Eric Goldberg received praise from critics and audiences for his hand-drawn animation of Maui's tattoos, which they claimed "stole the show" from the actual CGI-animated motion picture. Wai Chee Dimock, writing in the Los Angeles Review of Books, compared the ocean in Moana to the one in "The Water Baby", a short story by Jack London, saying that both are animated: one, by the tension between digital and analog animation, and the other, by the tension between an encroaching future and a past in retreat still capable of pushing back.

Christy Lemire of RogerEbert.com gave the film three-and-a-half out of four stars, stating "...its dazzling visuals, catchy tunes, enjoyable performances, clever running gags and overall sense of fun. It's all there, and—except for a few scary moments—it'll delight viewers of all ages." Peter Debruge of Variety praised the film, calling it "a return to the heights of the Disney Renaissance".

Critics also lauded Moana for centering on a strong female protagonist whose narrative is not confined to finding a Prince Charming, a contrast to princess characters of past Disney films. Brent Lang of Variety wrote, "Whereas earlier Disney heroines waited around for their prince to come and save the day, Moana takes it upon herself to embark on a perilous oceanic voyage in order to lift her island home from a curse. It's the kind of adventuring that would have been left for the guys in Disney films of yore...Her journey is about finding herself, not landing a husband".

Accolades

Legacy
Due to the success of the film, Moana was officially added to the Disney Princess franchise and was the 12th addition to the lineup. According to the official list of the most-watched streaming titles of 2021 released on January 21, 2022, by Deadline and Nielsen, Moana ranked as the second most streamed film of 2021 with a view-time of 8.9 billion minutes, just behind Luca (2021), which had been watched for 10.5 billion minutes.

Disney+ series
On December 10, 2020, it was announced during the Disney investors meeting that a series based on the film would stream on Disney+ in 2023. The release date was later pushed back to 2024. It is one of the first spin-offs to be produced by Walt Disney Animation Studios itself instead of its television animation division.

Live-action adaptation
In April 2023, The Hollywood Reporter reported that Walt Disney Pictures was developing a live-action adaptation of Moana to be produced by Dwayne Johnson, Dany Garcia, and Hiram Garcia, under their production company Seven Bucks Productions, and Beau Flynn of Flynn Pictures Co., executive produced by Auliʻi Cravalho and Scott Sheldon, and written by Jared Bush, with Johnson set to reprise his role as Maui.

On the announcement, Johnson remarked "I'm deeply humbled and overcome with gratitude to bring the beautiful story of Moana to the live-action big screen. This story is my culture, and this story is emblematic of our people's grace and warrior strength. I wear this culture proudly on my skin and in my soul, and this once-in-a-lifetime opportunity to reunite with Maui, inspired by the mana and spirit of my late grandfather, High Chief Peter Maivia, is one that runs very deep for me. I want to thank my partners at Disney for their strong commitment to this special endeavor, because there is no better world for us to honor the story of our people, our passion and our purpose than through the realm of music and dance, which is at the core of who we are as Polynesian people." Sean Bailey, Disney Live Action's president of production, acknowledged that despite it being considered too early to remake the film seven years after it came out, "...the idea of working with these fantastic partners to tell such a meaningful story on a live-action canvas, particularly as we celebrate 100 years of storytelling at Disney, is thrilling." Auli'i Cravalho announced via an Instagram video that she will not reprise her role as Moana, but will serve as an executive producer. Thomas Kail was revealed as director in late May. Casting has been paused due to the 2023 SAG-AFTRA strike.

It is scheduled for release on June 27, 2025.

See also
 House of Moana
 Māui (mythology)
 Māui (Hawaiian mythology)
 Polynesian narrative
 Polynesian navigation
 Polynesians
 Austronesian peoples

References

External links

 National Geographic interview of real life Moana, Lehua Kamalu

2016 3D films
2016 computer-animated films
2010s adventure films
2010s American animated films
2010s English-language films
2010s fantasy action films
2010s fantasy adventure films
2010s feminist films
2010s musical fantasy films
3D animated films
American 3D films
American adventure comedy films
American animated fantasy films
American animated feature films
Animated coming-of-age films
American computer-animated films
American fantasy adventure films
American musical fantasy films
Animated films about shapeshifting
Animated films based on mythology
Animated films set in Oceania
Animated teen films
Annie Award-winning films
Demons in film
Disney Princess films
Films scored by Mark Mancina
Films directed by John Musker
Films directed by Ron Clements
Films set in Polynesia
Films with screenplays by Chris Williams
Films with screenplays by Jared Bush
Films with screenplays by John Musker
Films with screenplays by Ron Clements
Sea adventure films
Seafaring films
Walt Disney Animation Studios films
Walt Disney Pictures animated films

Moana (2016 film)


An Airship is kind of lighter-than-air aircraft.  It floats in the sky and need not move to stay up.  That is because it is filled with a lifting gas that is more lightweight than air.  This is different from aeroplanes that stay up in the sky by moving. An airship floats like a balloon. But an airship is different from a balloon. An airship has an engine for power and a way to control its direction of movement. A balloon does not have an engine or a way to control its direction of movement.

Kinds of airships
There are three kinds of airships. The difference is the amount of structure in the airship.

Rigid airships - Rigid airships have frames within the envelope to maintain their form.  The biggest airships were rigid airships, made in the 1920s and 1930s.  Big rigid airships were also called dirigibles.

Semi-rigid airships - Semi-rigid airships have small structures in them.  There are only a few semi-rigid airships.

Non-rigid airships - Non-rigid airships have no structures in them.  Non-rigid airships are also called blimps.  Most airships are non-rigid airships.

Blimps
Blimps were used by the United States in WWII to fight against submarines. Blimps are now used mostly for advertising and sometimes for looking down, for example at sport stadiums and tourist attractions.

The Hindenburg

The most famous airship was the Hindenburg. The Hindenburg was a rigid airship made by the Zeppelin airship company.  It burned when it was landing on May 6, 1937. There were 97 people on the airship when the fire started. The fire killed 35 of these people and one person on the ground.

Gases
Aerospace engineering

Airship


Constantine Christos "Costas" Azariadis (; born February 17, 1943) is a macroeconomist born in Athens, Greece. He has worked on numerous topics, such as labor markets, business cycles, and economic growth and development. Azariadis originated and developed implicit contract theory.

Education
Azariadis studied engineering in the National Technical University of Athens before earning his MBA and PhD in economics at Carnegie Mellon during 1969–1973. His doctoral dissertation at Carnegie Mellon was advised by Edward C. Prescott and Robert Lucas. His dissertation won him the Alexander Henderson Award for excellence in economics, an award also won by Nobel Laureates Oliver Williamson, Dale Mortensen, Finn Kydland and Edward Prescott.

Academic trajectory
He was an assistant professor at Brown during 1973-76,  a visiting researcher at Hebrew University in 1977, then at University of Pennsylvania during 1977-92.  He was appointed professor at UCLA in 1992.  On July 1, 2006, he was made Edward Mallinckrodt Distinguished Professor in Arts & Sciences at the Economics Department of Washington University in St. Louis while retaining a position at UCLA as a professor emeritus.  The same year, he became a research fellow at the Federal Reserve Bank of St. Louis.
Azariadis was elected a Fellow of the Econometric Society in 1989.

Contributions to economics

Implicit contract theory
Azariadis originated implicit contract theory. He proved that wage rigidities may represent a mechanism by which firms insure workers against risk, thus showing that wage rigidity was not necessarily evidence in favor of the Keynesian theory. Later Azariadis demonstrated that there are ways in which uncertainty is structured that imply that wages cannot perform their risk insurance role and simultaneously produce full employment. This result aided the Keynesian theory by providing a coherent microeconomic explanation of unemployment.

Poverty trap
Azariadis formalized and developed the idea of poverty trap. He showed that there would be multiple equilibria arising from threshold externalities in the overlapping generations model, and some of the equilibria are associated with long-lasting poverty. This novel idea envisioned the possibility of convergence clubs.

Self-fulfilling prophecies
Azariadis contributed to clarifying the concept of sunspot equilibrium developed by David Cass and Karl Shell. He generalized it in the name of "Self-fulfilling prophecies" which consist of a belief system consistent with the rational expectations equilibrium. By doing that, he could demonstrate fluctuations can emerge endogenously in a neoclassical model of equilibrium in which prices are flexible and expectations are rational.

Major publications

 Azariadis, C. 1975. Implicit contracts and underemployment equilibria. Journal of Political Economy, 83: 1183-1202
 Azariadis, C. 1976. On the Incidence of Unemployment, Review of Economic Studies (February): 115-125.
 Azariadis, C. 1981. A Re-examination of Natural Rate Theory, American Economic Review (December): 946-960.
 Azariadis, C. 1981. Self-Fulfilling Prophecies, Journal of Economic Theory, (December): 380-396.
 Azariadis, C. 1983. Employment With Asymmetric Information, Quarterly Journal of Economics (Supplement): 157-172.
 Azariadis, C. and R. Guesnerie, 1986. Sunspots and Cycles, Review of Economic Studies (October): 725-738.
 Azariadis, C. and A. Drazen, 1990. Threshold Externalities in Economic Development, Quarterly Journal of Economics (May 1990): 501-526.
 Azariadis, C. 1996. The Economics of Poverty Traps, Part One: Complete Markets, Journal of Economic Growth, (December): 449-486.
 Azariadis, C. and B. Smith. 1998. Financial Intermediation and Regime Switching in Business Cycles, American Economic Review, (June): 516-536.
 Azariadis, C. and L. Lambertini. 2003. Endogenous Debt Constraints in Lifecycle Economies, Review of Economic Studies: 461-488.
 Azariadis, C., J. Bullard, and L. Ohanian. 2004. Trend-Reverting Fluctuations in the Life-Cycle Model, Journal of Economic Theory: 334-356.

Author of:
 Intertemporal Macroeconomics. Oxford: Blackwell Publishers, February 1993.

Sources

External links
Prof. Azariadis' homepage
Azariadis' webpage at the Federal Reserve

1943 births
Living people
Writers from Athens
20th-century Greek economists
Fellows of the Econometric Society
Washington University in St. Louis faculty
National Technical University of Athens alumni
Greek academics
Greek emigrants to the United Kingdom
Tepper School of Business alumni
21st-century Greek economists
Greek expatriates in the United States
Brown University faculty

Costas Azariadis


Orientation may refer to:
 Orientation (mental), a function of the mind
 Orientation (movie), a 1996 short movie produced by the Church of Scientology
 Orientation of churches is the custom of having the front of churches on their east side (Latin: oriens)
 Orientation (housing), the position of a building with respect to the sun, a concept in building design
 Student orientation, the first week of a university year in several countries
 Coin orientation and Medallic orientation, a description of the orientation of opposite faces of a coin with respect to one another
 Sexual orientation, the direction of an individual's sexuality relative to the sex of the persons the individual finds sexually attractive
 Map orientation, the relationship between directions on a map and compass directions
 Orientation (EP), a 2001 album by Sonata Arctica
 Page orientation, whether the long or short side of a rectangular page is the bottom for normal viewing

Television
 "Orientation" (Lost), a 2005 episode of American television series Lost
 Orientación, an episode of the American television series Prison Break
 "Orientation" (Heroes), a 2009 episode of American television series Heroes

Mathematics
 Orientation (computer vision), an image processing concept related to one-dimensional characterization of a local image
 Orientation (geometry), placement of an object in a rotational coordinate system with respect to a fixed point and a reference position
 Orientation (vector space), a concept in linear algebra
 Curve orientation, a property of a planar simple closed curve
 Orientability, a property of surfaces in Euclidean space measuring whether or not it is possible to make a consistent choice of surface normal vector at every point
 Orientation character, group homomorphism in surgery theory

Related pages
 Orientability, a concept in topology
 Orientation tensor, a tool in geology/earth science
 Orienteering, a sport involving map orientation
 Orientation and mobility

Orientation


The eastern mosquitofish (Gambusia holbrooki) is a species of freshwater fish, closely related to the western mosquitofish, Gambusia affinis. It is a member of the family Poeciliidae of order Cyprinodontiformes. The eastern mosquitofish is native to the eastern and southern United States from Florida to Pennsylvania and inland to Alabama and Tennessee, while the western mosquitofish has a larger distribution throughout the United States.

Description
The eastern mosquitofish is a small, light-colored fish with semitransparent fins. The females usually have a black stripe near their eye area and light spots can be seen on the caudal and dorsal fins of both sexes. Due to its similar size, shape, and reproductive habits, it can easily be mistaken for a guppy.  Generally, males reach  and females . These fish are a livebearer species, and as such, the females are larger and more rounded than the males. Pregnant females are also easily recognizable by their gravid spot; a darker area on their bellies where they hold the fry.

Mosquitofish may have a melanistic color pattern with black spots, resembling a dalmatian. This could result in its being misidentified as another species.

Similar species
In its native range, eastern mosquitofish may be confused with the western mosquitofish (Gambusia affinis) or the sailfin molly (Poecilia latipinna).

In eastern Australia, the female and juvenile local Pacific blue-eye (Pseudomugil signifer) are similar in appearance but have a forked tail fin.

Taxonomy and naming
French naturalist Charles Frédéric Girard described the species in 1859. The genus Gambusia comes from the Cuban term, "Gambusino", which means "free-lance miner". Common names include eastern mosquitofish, plague minnow and eastern gambusia. The identity of the person honored in the specific name is uncertain but is thought to be the physician and naturalist John Edwards Holbrook (1796–1871).

Diet
G. holbrooki is considered a planktivorous species which consumes algae and detritus. Feeding habits seem to change based on maturity and mating season. Gambusia holbrooki will, if need arises, switch food sources to survive. With an increase of competition, this species will switch from a diet rich in phytoplankton, algae, and detritus to one consisting of zooplankton, invertebrates, the larvae of many other fish and amphibian species, and plant-associated animals. The main source of competition for G. holbrooki seems to be an increase of its own species and other planktivorous species. The main problem with this is, as mentioned before, it will change its diet; this is common even among the juveniles and both sexes of its own species. The females tend to not specialize on one prey, and consume all evenly, whereas the males and juveniles specialize on one prey type. However. males, females, and juveniles all consume detritus at the same rate.

Habitat and distribution
Eastern mosquitofish are native to the southeastern United States. They have been introduced worldwide and have become an invasive species in many places including Australia and Europe.

Eastern mosquitofish are found in shallow, standing to slow-flowing water, mostly in vegetated ponds, lakes, and sloughs. This species thrives in water between  and , and seems to be able to acclimate to temperatures above and below this. G. holbrooki has been shown to survive in water with pH and chemical levels known to kill other fish species, and prefers to live in areas where the water flows at a slow pace, is clear and without free-floating plant life, and seeks shelter in rooted plants. No decrease in this species due to human activities has been noted. The Eastern mosquitofish is easily maintained and has never been considered an endangered or threatened species due to its ability to thrive in its native habitat. Due to releases in new areas, G. holbrooki has actually increased its range. It tolerates chemical and thermal changes quite easily.

Prediction of future distribution
Through species distribution models, it has been revealed that Eastern mosquitofish exhibit significant niche expansions beyond their natural climatic ranges, with a notable shift towards tropical regions in Asia and a distinct niche shift observed in European G. holbrooki populations. These findings highlight the ecological flexibility of these species, contributing to their extensive success and posing a substantial risk for further range expansion. Furthermore, climate change is projected to create vast opportunities for additional expansion, particularly in Europe.

Life history

Reproduction
Temperature has been shown to change the length of time it takes them to reach reproductive maturity and body size. This species is also known to give birth to live young instead of laying a clutch of eggs. The breeding season is between midspring and midautumn, with the peak breeding time being around summer. Females can have up to nine broods per mating season, with the average size ranging from five to 100. The variability of the average brood size is due to many variables, including temperature, age, and available nutrients. Higher temperatures have been shown to increase the fecundity of this species. The gestation period for this species is between 22 and 25 days. Predation stress is also known to affect their reproduction (clutch size). Predator-exposed females were found to give birth to higher number of stillborn offspring compared to unexposed females.

Sexual aggression
According to Pilastro et al. male mosquito fish can be especially sexually aggressive. This aggression can reduce female foraging efficiency by more than half. Females frequently form shoals to reduce sexual harassment from males.

Growth
The offspring juvenile stage lasts between 18 days and eight weeks. Once again, changes in temperature affects these numbers; colder temperatures decrease and higher temperatures can increase maturity. This species can have several generations within their breeding period because of their fast rate of growth. The usual lifespan is between one and two years, as determined by stress factors in their habitats. Sexual selection in this species is based on the size of the male. Females tend to choose larger, more aggressive males. Females tend to choose areas of shallow water with dark soil cover for brooding sites, while juveniles prefer more rooted plants in which to hide. The main human-induced change that affects the growth rate and life history of G. holbrooki is the water temperature.

Ecology

Invasive species
Eastern mosquitofish have become invasive species in many freshwater systems of the world and are for example described as invasive species in Australia. Eastern mosquitofish were introduced into New South Wales in the 1920s to control mosquitoes, but provided no further benefit over small Australian native fish. Further, they cause harm to native fauna that have an aquatic larval stage. Mosquitofish are aggressive, fin-nipping harassers of other fish, and pose a serious threat to native Australian fish and aquatic invertebrates. Negative impacts on rainbowfish species and at least one frog species have been documented. Several rainbowfish populations appear to have become extinct due to the impacts of introduced Gambusia. Compounding the issue, Eastern mosquitofish have the ability to thrive in many different environmental conditions which are usually lethal to other fish species.

Australia set up conservation management plans to try to save native species from G. holbrooki. One such management plan included releasing a chemical known to kill mosquito larvae. The chemicals used were found to have a strong effect on the G. holbrooki, but they became tolerant to most of them fairly rapidly unless amounts considered unsafe for native species were used. Another strategy tried, and failed, to decrease this invasive species was electrocuting a lake known to have been invaded. The cost and loss of native fish was so great, that this method was dropped. The main reason it failed was mosquitofish stay in the shallows, which receive the smallest charge from the electrification method used. Later tests also revealed this species has a high tolerance for electrical shock, but the exact mechanism that allows this still seems to be questionable.

Predators
Little research has been done to determine all G. holbrooki predators, due to its own predatory nature in the areas where it has been introduced. In the introduced areas, it has been known to cause top-down trophic effects due to its eating the larvae of some top predators, which include frogs and other fish. Visual exposure to its predator, largemouth bass (Micropterus salmoides) is known to affect its reproduction.

References

Gambusia
Fish described in 1859
Fauna of the Southeastern United States
Fish of North America
Mosquitofish
Live-bearing fish
Freshwater fish of the Southeastern United States

Eastern mosquitofish


Swampscott Town Hall, previously the Elihu Thomson House, is a historic building in Swampscott, Massachusetts.  The house was designed by architect James T. Kelley and built in 1889 for the noted inventor, electrical engineer, and industrialist Elihu Thomson (1853-1937). Thomson was, with Edwin J. Houston, co-founder of the Thomson-Houston Electric Company which would later merge with Thomas Edison's Edison General Electric Company to become the General Electric Company. The house was built with an observatory, which no longer exists.  It has housed Swampscott town offices since 1944, when it was given to the town by Thomson's heirs.  The building was declared a National Historic Landmark in 1976 for its association with Thomson.

Description
Swampscott Town Hall is set on an expansive lot overlooking the town's soldiers memorial and Linscott Park in the town center.  It is a two-story brick Georgian Revival structure with a tiled hip roof that is crowned by a low balustrade with turned balusters and urn-topped posts.  The main facade is asymmetrically fenestrated, but there are symmetrically placed gable dormers in the roof, and the entrance is in a slightly off-center gable-topped projection.  The building corners, as well as those of the entry section, have Ionic stone pilasters at the corners.  The main entrance is sheltered by a round portico supported by fluted Corinthian columns, which supported an entablature with a carved frieze.  The portico is topped by a balcony with a low railing slightly different from that on the roof.  Above the entrance is a French door flanked by stone fluted Corinthian pilasters, and topped by a scrollwork pediment.  Large windows on either side of the entrance on the first floor are topped by similar pediments.

Upon entry through the front door, there is a vestibule lit through stained-glass windows, followed by a panelled entry hall, which leads to a large two-story living space in the rear of the house, from which a grand staircase rises to the second floor.  Pocket doors from these halls lead to what were formerly living and dining rooms at the front of the house, and there is a small guest bathroom immediately left of the vestibule in the front projection.  A significant portion of the woodwork in the downstairs has been lost due to the building's conversion for municipal use, but the living room, which now serves as the selectmen's office, and the central hall are largely intact.  Also well-preserved is one of the children's bedrooms upstairs, which has a Moorish theme.

Behind the main house is Thomson's original carriage house, which was originally connected to the main house by a covered walkway, since replaced by an enclosed passage.  This alteration resulted in the loss of a projecting bow window.  Above the carriage house is a space that was used by Elihu Thomson as a laboratory.

History
The house was designed by James T. Kelley in collaboration with Harold S. Graves, a team that also designed the Swampscott Public Library (completed 1917).  Elihu Thomson, their client, is said to have taken an active role in the design of the structure, selecting interior finishes and other details.  Thomson lived, and frequently also worked on his inventions, at the property until his death in 1937.  It was presented by his heirs to the town in his memory, and is now known as the Elihu Thomson Memorial Administration Building.

Elihu Thomson was born in Manchester, England, and came to the United States as a child.  Showing an early aptitude for research and experimentation, he taught at a Philadelphia high school, and developed a practical arc lamp system with a colleague.  Funded by New England businessmen, this idea was commercialized, and the Thomson-Houston Electric Company was by 1890 a leading maker of electrical equipment.  In 1892 it merged with Thomas Edison's Edison General Electric Company to form the company known today as General Electric.  His contributions to science and engineering thereafter include a wide range of practical advances in the application of electricity, and included more than 700 patents.  Thomson is also credited with establishing the idea that industrial research and development was an important component of a successful business, including the creation of laboratories that perform pure scientific research.

See also
 List of historic houses in Massachusetts
 List of National Historic Landmarks in Massachusetts
 National Register of Historic Places listings in Essex County, Massachusetts

References

Houses completed in 1889
National Historic Landmarks in Massachusetts
Buildings and structures in Swampscott, Massachusetts
Houses in Essex County, Massachusetts
Town halls in Massachusetts
National Register of Historic Places in Essex County, Massachusetts
Historic district contributing properties in Massachusetts
Houses on the National Register of Historic Places in Essex County, Massachusetts

Swampscott Town Hall


MPEG-4 is a video and audio standard (type). Movies in MPEG-4 need less space on a computer. At the same time, they still have DVD quality. MPEG means Moving Picture Experts Group. Many researchers and engineers all over the world worked to develop MPEG-4. The work on this standard ended in 1998. MPEG-4 became a standard all over the world.

Movies that use MPEG-4 standard are high quality and take up less computer memory. Older standards were MPEG-1 and MPEG-2. Compared to these older versions, MPEG-4 has more features. For example, it has a way to fix problems, lots of quality and size choices, and a better picture quality.

MPEG-4 is designed for the special needs of computers, television areas and telecommunications. It is able to be individual objects in a certain area, besides rectangular pieces of computer information. For example, this could be a car driving in front of a background. The background does not change. The car can be treated as separate thing, because it is not a fixed background. This is because MPEG-4 can be many rectangular images at the same time.

Related pages
VHS
DVD
MP3

Other websites
MPEG-4  - Additional information on the format for more advanced users

Computer file formats
Audio technology
Display technology

MPEG-4


Paperboy is a 2013 young adult novel by author Vince Vawter. The novel was a Newbery Medal Honor Book in 2014.

Description
The author Vince Vawter was inspired to write the novel Paperboy because it is an autobiographical novel, almost a memoir, about his lifelong speech impediment. Although a struggle during his childhood, as an adult, Vawter considers his speech impediment to be a welcomed challenge and source of inner strength.

Plot

The story takes place in 1959 in Memphis. "Little Man" Victor, an eleven-year-old boy who stutters, takes over his best friend Rat's paper route while Rat is visiting his grandparents. Little Man has various encounters with Rat's customers. The paper route poses challenges and introduces Little Man to life's daily obstacles.

He has a run-in with the neighborhood junk man, Ara T, a bully and thief who Little Man was warned to stay away from by his Mam. Ara puts the boy's life, as well as Mam's, in danger. Victor begins to wonder what it means to have a soul. He thinks about his talks with Mr. Spiro, a merchant sailor who has settled into the area; who he met on his paper route. He sees Mrs. Worthington walking hand in hand with her husband and hopes she's happy. He befriends a boy on the route who he has learned is deaf, and he is finally able to tell his mother that the food she thinks is his favorite is not. Though he has recently discovered that his dad is not his birth father, he embraces their loving relationship and strives to deepen it. Mr. Spiro, he learns, is going to leave soon on one of his merchant ships, and he gives Little Man a cut up dollar bill with 4 words on it, student, servant, seller, and seeker. By the end  of the book, he is even able to speak several full sentences in front of his class, finally verbalizing his own name for the first time. Victor tells Mam he's learned that what he says is more important than how he says it and that his soul doesn't stutter. In the end, it turns out that Victor had typed up the entire book.

Characters

 Victor Vollmer/ "Little Man"- a stuttering 11-year-old boy who takes on a new responsibility, which is his friend's paper route, and is intrigued by all the new things happening in the neighborhood around him.
 Mam - a protective housekeeper who goes to great lengths to make sure "Little Man" is treated right.
 Arthur "Rat" - "Little Man's" friend whose paper route he is covering for.
 Ara T - a junkman who causes trouble for "Little Man" and Mam.
 Mrs. Worthington - a depressed woman who turns to alcohol quite frequently.
 Mr. Spiro - an intelligent traveler who has patience and helps "Little Man" understand things that he is intrigued about.
 TV Boy (Paul P.) - a boy who is deaf and watches TV all day to practice lip reading and is later befriended by Victor.
 Parents - mom who is real and a father who is not Victor's dad.
 Mr. Worthington - Mrs. Worthington's husband
 Coach - Victor's coach for baseball
 Big Sack - friends with Ara T, and cuts Victor's parents' lawn

Critical reception

Rob Buyea, author of Because of Mr. Terupt and Mr. Terupt Falls Again states Paperboy is "An unforgettable boy and his unforgettable story. I loved it."
The story is "Beautifully written by a first-time author/retired newspaper man who stutters, Vince Vawter knows much about what he writes." - The Reading Countess  One parent on Common Sense Media states "He learns many life lessons during his temporary job as a paperboy (set in the south, during the 60s), and we cheer for him as he stands up for someone he loves, despite extreme peril. Well written, compelling, and plenty of fresh, fascinating characters."

Awards

 A Newbery Honor  Award Winner
 An American Library Association Association for Library Service to ChildrenNotable Children's Book
 An International Reading Association Children's and Young Adults' Choice
 An International Reading Association Teachers' Choice
 A Junior Library Guild Selection
 A Bank Street College of Education Best Book of the Year
 A National Parenting Publications Award Honor Book
 A BookPage Best Children's Book
 An ABC New Voices Pick
 An American Library Association-Association for Library Service to Children Notable Children's Recording
 An American Library Association-YALSA Amazing Audiobook
 Amazon.com Best Books of the Year 2013: Ages 9–12
Canadian book Honor Award
CCBC Award
UNKB Award
Big Book Award NYC

Notes

2013 American novels
2013 children's books
Newbery Honor-winning works
American young adult novels
American autobiographical novels
Stuttering
Fiction set in 1959
Delacorte Press books

Paperboy (novel)


From 1984 to 2002, the Free State of Bavaria biennially awarded its Karl-Vossler-Preis, named after Karl Vossler, to authors of scientific literature of distinguished literary quality written in German. The award was aimed at fostering the status of German as an academic language and came with a prize money of 25,000 marks until 2000, and 12,500 Euros in 2002. It alternated with the Jean-Paul-Preis, another literary prize biennially awarded by Bavaria since 1983.

Laureates
Source:
 1984: Hubert Markl, biologist
 1986: Josef Isensee, jurist
 1988: Wolf Lepenies, sociologist
 1990: Friedrich Cramer, biochemist
 1992: Harald Weinrich, linguist
 1994: Hans-Martin Gauger, philologist and linguist
 1996: Arnold Esch, historian
 1998: Peter Gülke, musicologist
 2000: Dieter Borchmeyer, philologist and dramatician
 2002: Otfried Höffe, philosopher

References

External links
 "Literaturpreise des Freistaates Bayern" at the website of the Bavarian State Ministry of Sciences, Research and the Arts (German)

Awards established in 1984
2002 disestablishments in Germany
German non-fiction literary awards
Literary awards of Bavaria

Karl-Vossler-Preis


Henry Milner Rideout (1877–1927) was a native of Calais, Maine. Author of sixteen novels, twenty-three short stories and novellas, and a biographical memoir, he also was editor of one college textbook, as well as co-editor of three others. Many of his stories appeared in The Saturday Evening Post.

Rideout's Life

Rideout's father, a miller and road contractor, died when Rideout was twelve. Rideout's elder brother, who managed a bank in California, became the support of the family. At school, Rideout's ability caught the attention of his English teacher, Laura Burns, who was a cousin of the distinguished Harvard professor of English, Charles Townsend Copeland. She and Copeland motivated a group of Calais townspeople to lend Rideout the wherewithal to enter Harvard in 1895, where he was the first in his family to attend college. At Harvard, his literary talent came to the fore. Eventually he became Editor-in-Chief of The Harvard Monthly. His friends at Harvard included William Morrow, William Jones, Raynal Bolling, and Arthur Ruhl. After graduating in 1899 as Class Odist, Rideout was an instructor in the Harvard English department.

Four years later, his college debts were paid and Rideout was free to turn away from a promising but uncongenial academic career. The Atlantic Monthly had accepted two of his short stories, giving him hope of earning his living by his pen. To gather background material, he set off from San Francisco for six months of travel in the Far East under contract to the American Woolen Company, reporting on jute mills in the Philippines, Indonesia, and India. Keeping careful notes, writing long detailed letters to his brother, he observed so well and later used atmosphere so skillfully that readers familiar with places such as Bangkok or Canton were persuaded that Rideout's familiarity equaled their own. During that arduous circumnavigation, Rideout made lifelong friendships with various expatriate working people, especially sea captains. When his final jute-reports were filed, he returned via Europe, and settled down in central California with his bank-manager brother to begin an all-out effort to write novels for a living.

In California, he met his future wife Frances Reed, also a gifted writer.  They lived in her family home in Sausalito where they raised their three children.  There were a number of Rideout cousins in California, among them the playwright Ransom Rideout (1899–1975), whose play "Goin' Home" was performed on Broadway in 1928 and staged by Antoinette Perry and Brock Pemberton, and who wrote dialogue for the film Hallelujah!, directed by King Vidor. As Rideout's work gained renown, readers in the United States, Canada, and Great Britain were eager for his stories. His eminence became such that the San Francisco Chronicle ran a banner headline announcing his sudden death from pneumonia while on a family trip to Europe.

Critical appraisal

In a 1920 essay titled "The National Letters," H.L. Mencken said,

Yet a study of Rideout's life reveals that his literary career was more like a workman following traditions of honest craftsmanship. Rideout's Far Eastern voyage also fits into his Down East heritage. Maine Rideouts had been shipbuilders since the late seventeenth century. They were lumbermen who cut the trees to build those ships. Some were farmers who made the most of the resources of the Maine coast by building a family schooner to venture to China or India on a trading voyage. Rideout set out to seek literary treasure on the other side of the world. With workmanlike modesty, Rideout spoke of his stories as his "yarns." Even when he became well known, he never saw himself as a literary figure, and he despised coteries, literary movements, and intellectual snobbery.

Rideout's fiction drew from two different sources: Maine background, or exotic background. Though his most acclaimed work is in the former vein, yet toward the end of his life he did equally well with a group of traditional Chinese tales told him at the Sausalito kitchen table by his friend Pan Ruguei.  Those stories were collected as Tao Tales. John Macy said in a 1928 review that Rideout set the Chinese stories in "enticingly classic English."

The classical training absorbed at Harvard shows in the commemorative ode commissioned from Rideout for the Tercentennial Anniversary of the settlement of Saint Croix Island, Maine in 1904. Moreover, that ode, alone of all the Tercentennial speeches and formalities, makes mention of Native Americans. This awareness shows in his college friendship with William Jones, the Native-American anthropologist who died in the Philippines in 1909. (William Morrow and Raynal Bolling commissioned Rideout to write a memorial biography of Jones.) Rideout's last published work was an adventure story, Lola the Bear, set in the Maine woods among tribal people with whom Rideout had hunted and fished since boyhood.

Rideout was a man who found ordinary people more interesting than high society. For example, he made friends with the engineer of a Cunard liner rather than with the first class passengers in the salon of that liner. He loathed cities, and his fictional heroes were country people and working men. The heroine of his late novel, Barbry, was an indentured servant girl.

It is appropriate that Maine lumberjack songs and sea chanteys recorded by Rideout are preserved on wax cylinders in the archive of the American Folklife Center at the Library of Congress. The Dictionary of American Biography contains an entry for Henry Milner Rideout with information supplied by his widow.

In his valedictory 1928 review, John Macy pays tribute to Rideout's work:

Works by Henry Milner Rideout

Novels
The Siamese Cat (1907)
Admiral's Light (1907)
Dragon's Blood (1909)
The Twisted Foot (1910)
White Tiger (1915)
The Far Cry (1916)
Tin Cowrie Dass (1918)
Boldero (1918)
The Key of the Fields (1918)
Fern Seed (1920)
The Winter Bell (1922)
The Footpath Way (1923)
Barbry (1923)
The Man Eater (1924)
Dulcarnon (1925)
Lola the Bear (1928)

(Most of these were serialized in The Saturday Evening Post, as were the greater number of the short stories and novellas listed below.)

Short stories, novelettes and novellas

Wild Justice (1903)
Blue Peter
Captain Christy
(All three appeared in The Atlantic Monthly and were published in one volume in 1906, titled Beached Keels.)
Hantu (The Atlantic Monthly, 1906, and later in The Spinner's Book of Fiction, 1907)
The Padre's Volcano (Everybody's Magazine,1906)
Bull's Eye (1909)
Fair Play (1910)
The Hand of Glory (1915)
The Rainbow (1915)
Parimban's Daughter (1916)
The Camellia Tree (1916)
Hury Seke (1917)
After Dark (1918)
Goliah (1918)
Surprising Grace (1918)
The Golden Wreath(1919)
Saxby Gale (1918)
Fortune's Darling (1919)
Runa's Holiday (1919)
The Toad (1920)
"The Other Day", "Powers of Darkness", "The Seeds of Time", "Old Things," "The Old Fighter's Children", "The Sunny Pool," "The Fat Nun's Blue Parrot," "Man-Woman Free," and "Surf Rats" (Short stories collected as Tao Tales, 1927).

Memoir

William Jones: Indian, Cowboy, American Scholar, and Anthropologist in the Field (1912)

Textbooks

Letters of Thomas Gray (1899) (Edited with Charles T Copeland)
Tennyson's "The Princess" Nineteenth century literature (1899) (Gateway Series)
Freshman English and Theme-Correcting in Harvard College (1901) (With Charles T. Copeland)
Selections from Byron, Shelley, Keats, and Browning (1909)

External links

1877 births
1927 deaths
20th-century American novelists
American book editors
American male novelists
American textbook writers
Harvard University alumni
Harvard University faculty
People from Calais, Maine
American male short story writers
20th-century American biographers
20th-century American short story writers
People from Sausalito, California
20th-century American male writers
Novelists from California
Novelists from Massachusetts
American male biographers

Henry Milner Rideout


Gideon's Day (originally released in the United States as Gideon of Scotland Yard) is a 1958 police procedural crime film starring Jack Hawkins, Dianne Foster and Cyril Cusack. The film, which was directed by John Ford, was adapted from John Creasey's 1955 novel of the same title.

This was the first film to feature a character named George Gideon, but Jack Hawkins had played a similar role in the British film The Long Arm two years earlier. Gideon was later played by John Gregson in the TV series Gideon's Way.

Plot
The film follows a day in the life of Detective Chief Inspector George Gideon of the Metropolitan Police. His day starts when he receives information that one of his officers has been taking bribes. Despite his hectic schedule, his wife reminds him his daughter has a violin recital that evening; she also tells him her aunt and uncle are coming for tea before the concert. This becomes a recurring theme throughout the film, as Gideon is continually hampered in his efforts to finish work and return home.

On the way to Scotland Yard he drops his daughter off at the Royal College of Music, but is stopped by a young constable for running a red light. Once at his office, he calls in the detective whom a "snout" [i.e. informant] has told him is taking bribes and suspends him. Gideon then gets word that an escaped mental patient from Manchester is on his way to London. Meanwhile, an audacious gang is robbing payrolls.

The mental patient is soon arrested, but not before he has killed the daughter of his former landlady. Gideon wants to congratulate personally the policeman who made the arrest, only to discover it is the same young officer who gave him a summons for his early morning traffic offence. Various jobs then preoccupy the chief inspector while his detectives continue to investigate the bribery case. News then arrives that the suspended policeman has been run down by a car — whose tyre tracks match one used in the earlier payroll jobs. After Gideon visits the dead officer's wife, evidence soon emerges that links the dead detective to a woman, Mrs. Delafield, who went to clubs he frequented.

Gideon goes to her address and discovers that the woman's husband Paul was responsible for the robberies, because he wanted the financial means to be a painter. The husband then tricks his wife into holding a gun on Gideon while he makes his escape. The detective uses his calm manner to defuse the situation. But before he can return home, the phone rings again. A safety deposit firm has been robbed by a gang of rich socialites who have been cornered inside. When the police finally draw them out, Gideon catches one of the gang himself, but he loses his temper when he finds out that the elderly night watchman was killed in cold blood by the man he arrested, telling him "you'll hang for this, you rich nobody!"

Finally Gideon gets home. His wife tells him that their daughter has met a nice young man at her recital. It turns out it's the young constable again. He had been holding the chief inspector's concert ticket all day following their first encounter that morning. This led him to meet Gideon's daughter, who is quite taken by him. But finally, just as they are all sitting down to supper, the phone rings one last time. A man believed to be Paul the painter has been arrested at London Airport. The film concludes with a final irony. The young constable, who is driving Gideon to the airport, is stopped by another policeman as he races through the capital's foggy streets for running a red light — and is unable to produce his driving licence!

Cast
 Jack Hawkins - DCI George Gideon
 Dianne Foster - Joanna Delafield
 Cyril Cusack - Herbert 'Birdie' Sparrow
 Maureen Potter - Mrs Sparrow
 Andrew Ray - PC Simon Farnaby Green
 Anna Massey - Sally Gideon
 James Hayter - Robert Mason
 Ronald Howard - Paul Delafield
 Howard Marion-Crawford - The Chief
 Laurence Naismith - Arthur Sayer
 Derek Bond - Detective Sergeant Kirby
 Anna Lee - Kate Gideon
 John Loder - Ponsford "The Duke"
 Miles Malleson - Judge
 John Le Mesurier - Prosecuting Counsel (uncredited)
 Robert Raglan - Dawson (uncredited)
 Michael Trubshawe - Sergeant "Golly" Golightly
 Jack Watling - Reverend Small
 Francis Crowdy - Francis Fitzhubert
 Grizelda Hervey - Mrs Kirby

Production
The film, which was shot on location in and around London, was Anna Massey's cinematic debut (she was aged 19 at the time). Interiors were completed at the MGM-British Studios, Borehamwood in Hertfordshire, England.

References

External links

1958 films
1958 crime films
Films based on British novels
Films directed by John Ford
Columbia Pictures films
Films scored by Douglas Gamley
British crime films
Films set in London
1950s police procedural films
Films shot at MGM-British Studios
1950s English-language films
1950s British films
Cultural depictions of Metropolitan Police officers

Gideon's Day (film)


An aeolipile or Hero's Engine, is a simple kind of steam engine believed to have been invented by Hero of Alexandria in the 1st century AD.  It may have been the first steam engine made.

Name
Its name comes from the Greek word Αἴολος and latin word pila, it means "The ball of Aeolus." Aeolus is the ancient Greek god of air and wind.

How it works
A ball is free to rotate on a hinge, 2 or 4 L-shaped nozzles stick out of the ball, the ball is to be filled with water, and a source of heat (such as fire) is placed underneath the ball, as the water gets hot, it turns to steam that forces its way out of the nozzles, pushing the ball around, therefore, the aeolipile is a kind of reaction turbine, and the nozzles use a similar principle to rockets.

Usage
No one really knows if the aeolipile was used for anything in ancient times. In modern times, they are used to teach physics and how steam engines work.

Ancient Greece
Mechanical engineering

Aeolipile