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9629_20	Critical response Mr. Peabody & Sherman has an approval rating of based on professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of . Its critical consensus reads, "Mr. Peabody & Sherman offers a surprisingly entertaining burst of colorful all-ages fun, despite its dated source material and rather convoluted plot." Metacritic (which uses a weighted average) assigned Mr. Peabody & Sherman a score of 59 out of 100 based on 34 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.
9629_21	Peter Bradshaw of The Guardian said: "(The film) takes a little while for the audience to get up to speed, but once this is achieved, there's an awful lot of unexpected fun to be had," while Mark Kermode of the sister paper The Observer declared, "Pleasant to report, then, that DreamWorks' latest offers a fairly consistent stream of sight gags and vocal slapstick, even as the plot veers wildly down a wormhole in the time-space continuum." Kevin McFarland of The A.V. Club gave the film a C+, saying, "Unlike the whimsical, slapstick-driven shorts on which it's based, this feature-length adaptation adds an obligatory emotional arc that feels at odds with the zany spirit of historical time-travel tales." A. O. Scott of The New York Times gave the film a positive review, saying, "This DreamWorks Animation production, directed by Rob Minkoff (Stuart Little, The Lion King) from a screenplay by Craig Wright, is not perfect, but it is fast-moving, intermittently witty and pretty good fun."
9629_22	Richard Roeper of the Chicago Sun-Times gave the film a B, saying, "Mr. Peabody & Sherman is a whip-smart, consistently funny and good-natured film with some terrific voice performances and one of the most hilarious appearances ever by an animated version of a living human being." Claudia Puig of USA Today gave the film two and a half stars out of four, saying, "Mr. Peabody & Sherman is lively, educational and intermittently amusing. The fun, however, grows strained and formulaic as the movie goes on." Michael Phillips of the Chicago Tribune gave the film two out of four stars, saying, "The film's animation design is strictly generic in its rounded edges and dutiful 3-D IN YOUR FACE!!! gimmicks. And the story gets off to such a sour start, it takes a long time for the comedy to recover."
9629_23	Bill Goodykoontz of The Arizona Republic gave the film two and a half stars out of five, saying, "It retains the main characters, the WABAC machine, the trips through history – but not the sense of nuttiness that made the TV cartoon so delightful." Colin Covert of the Star Tribune gave the film three out of four stars, saying, "What a relief to see that while Mr. Peabody'''s visuals are enhanced to sleek 21st-century standards, the essential charm of the series survives more or less intact." Elizabeth Weitzman of New York Daily News gave the film three out of four stars, saying, "Burrell doesn't quite capture the wry deadpan of the original, but then, neither does the movie. That's okay." Bruce Demara of the Toronto Star gave the film three out of four stars, saying, "Kids of all ages are sure to enjoy this visually splendid, fast-paced blast through the past." Betsy Sharkey of the Los Angeles Times gave the film a negative review, saying, "For all the ways the film reflects its
9629_24	earlier TV incarnation, the shadings have been softened. Mr. Peabody could use a bit more bite." Soren Anderson of The Seattle Times gave the film two and a half stars out of four, saying, "Frantically paced by director Rob Minkoff (The Lion King) and making very effective use of 3D – Hey! Get that sword out of my face! – the movie will surely appeal to kids." Rafer Guzman of Newsday gave the film two and a half stars out of four, saying, "The movie has trouble stitching together disjointed episodes into a coherent narrative. Thanks to a strong voice cast, however, the characters retain their charm throughout."
9629_25	Leslie Felperin of The Hollywood Reporter gave the film a positive review, saying, "The film's saving grace is its character design and use of 3D techniques to speed things up in every sense when the plot starts to flag." Liam Lacey of The Globe and Mail gave the film two and a half stars out of four, saying, "Mr. Peabody is fast-paced and jammed with rib-poking historical references, but it couldn't be called witty, even on the broadly winking level of the original cartoon." Stephen Whitty of the Newark Star-Ledger gave the film three out of four stars, saying, "Fifty years ago, animated entertainment was a lot quieter. But that was my Mr. Peabody & Sherman. This is someone else's. And it should give them, and even a few open-minded parents, almost just as much giggly fun." Owen Gleiberman of Entertainment Weekly gave the film a B, saying, "Mr. Peabody & Sherman has a zesty time mixing and matching historical figures, from Marie Antoinette to George Washington. Yet the movie never,
9629_26	to my mind, conjured quite the quirky effervescence of such brainiac animated features as the Jimmy Neutron or SpongeBob SquarePants movies." Michael O'Sullivan of The Washington Post gave the film one out of four stars, saying, "By visual standards alone, the characters, rendered in eye-popping 3-D, resemble nothing so much as Macy's Thanksgiving Day Parade floats. They're just as lifeless and inexpressive, too." Sean Daly of the Tampa Bay Times gave the film a B, saying, "Before getting sucked into a what-the-wormhole ending that will scramble young brains, time-travel romp Mr. Peabody & Sherman is a fast, fun 3-D getaway."
9629_27	Lou Lumenick of the New York Post gave the film three out of four stars, saying, "Against all odds, DreamWorks Animation has created a smart, funny and beautifully designed feature called Mr. Peabody & Sherman." Tom Huddleston of Time Out gave the film two out of five stars, saying, "This feature-length Mr Peabody & Sherman is by no means unbearable: there are a few decent gags, and the episodic plot just about manages to hold the interest. But there's little here for any but the most easy-to-please youngsters." Eric Henderson of Slant Magazine gave the film one and a half stars out of four, saying, "The film spent roughly a dozen years in development, and the moronic, corporate detritus from that long time warp is strewn about like so many improbable history lessons." Steven Rea of The Philadelphia Inquirer gave the film three out of four stars, saying, "Mr. Peabody & Sherman has a cool, midcentury-modern look (dog and boy live in a populuxe Manhattan penthouse) and a voice cast that
9629_28	may not be A-list but fits the bill nicely." David Gritten of The Daily Telegraph gave the film four out of five stars, saying, "It's sweet-natured and amusing, with a story to captivate kids; yet the script has enough witty touches to keep adults laughing too." Perry Seibert, writing for AllMovie, gave the movie two stars out of five, calling the movie "long, loud, and visually exhausting" and saying that it "feels less like an attempt to update a boomer classic for millennials than a prime example of how lazy marketing guys hold sway over what movies get made."
9629_29	Box officeMr. Peabody & Sherman grossed $111.5 million in the United States and Canada, and $164.2 million in other countries, for a worldwide total of $275.7 million. With a budget of $145 million, the film underperformed, forcing DreamWorks Animation to take a $57 million write-down on behalf of the film. In North America, the film earned $8 million on its opening day, and opened to number two in its first weekend, with $32.2 million, behind 300: Rise of an Empire. In its second weekend, the film moved up to number one, grossing $21.8 million. In its third weekend, the film dropped to number three, grossing $11.8 million. In its fourth weekend, the film dropped to number four, grossing $9.1 million. Accolades Soundtrack
9629_30	The film's score was composed by Danny Elfman. The soundtrack was released by Relativity Music Group on March 3, 2014. Peter Andre wrote and performed for the film a song titled "Kid", which is played during the British version of the end credits, instead of Grizfolk's "Way Back When". Track listing Home videoMr. Peabody & Sherman was released in digital HD, Blu-ray (2D and 3D) and DVD on October 14, 2014. The Blu-ray release also included a new CGI Rocky & Bullwinkle short film. As of February 2015, 3.4 million home entertainment units were sold. Television series
9629_31	An animated television series featuring Mr. Peabody and Sherman, titled The Mr. Peabody and Sherman Show, was premiered on October 9, 2015, on Netflix. The series is based on the 1960s short film segments that aired as part of The Rocky and Bullwinkle Show'', and it also takes some elements from the film. After being revealed as time travelers at the end of the film, Mr. Peabody and Sherman launch a live TV variety show, hosting various historical figures at their Manhattan penthouse. The series is hand-drawn, with the Vancouver-based DHX Media providing the animation. Mr. Peabody is voiced by Chris Parnell, while Max Charles reprises his role as Sherman from the film. According to The Animation Guild, I.A.T.S.E. Local 839, 78 episodes of the television series have been ordered, however, only 52 episodes were made. A soundtrack for the series was released digitally on October 2, 2015, and on CD in December 2015. Published by Lakeshore Records, the album features original score and the
9629_32	opening theme song by Eric Goldman and Michael Corcoran (a.k.a. The Outfit), and new original songs by Jukebox the Ghost, JD McPherson, Wordsworth and Prince Paul, and Ra Ra Riot.
9629_33	References External links
9629_34	2010s American animated films 2010s adventure films 2010s science fiction comedy films 2014 3D films 2014 comedy films 2014 computer-animated films 2014 films 20th Century Fox animated films 20th Century Fox films 3D animated films Agamemnon American 3D films American adventure comedy films American buddy films American children's animated adventure films American children's animated comic science fiction films American children's animated science fantasy films American computer-animated films American fantasy-comedy films American films Animated buddy films American animated feature films Animated films about dogs Animated films about orphans Animated films about time travel Animated films based on animated series Animated films based on classical mythology Cultural depictions of Abraham Lincoln Cultural depictions of George Washington Cultural depictions of Leonardo da Vinci Cultural depictions of Sigmund Freud DreamWorks Animation animated films English-language films
9629_35	Fictional duos Films about time travel Films directed by Rob Minkoff Films scored by Danny Elfman Films set in the 12th century BC Films set in the 14th century BC Films set in the 1500s Films set in the 1780s Films set in ancient Egypt Films set in ancient Greece Films set in Florence Animated films set in New York City Films set in Texas French Revolution films Renaissance in popular culture The Adventures of Rocky and Bullwinkle and Friends Trojan War films
9630_0	"Don't Forget" is a song by American singer Demi Lovato, from their debut album of the same name. It was written by Lovato and the Jonas Brothers, who co-produced the song with John Fields. It was released as the album's third and final single in 2009, through Hollywood Records. The inspiration of the song came from Lovato falling in love with someone who later left them. According to Lovato, it is one of the songs on the album that they most relate to. Musically, "Don't Forget" is a midtempo glam rock ballad that features Lovato singing with breathy falsetto vocals. An accompanying music video was released on March 2009.
9630_1	Upon the release of the album, "Don't Forget" was well-received from music critics, who noted the transition from their "tween sound" to more mature material. The song achieved moderate commercial success, reaching number forty-one on the Billboard Hot 100. It also reached number seventy-six on the Canadian Hot 100. Lovato has performed the song numerous times including on The Ellen DeGeneres Show. Background and composition
9630_2	"Don't Forget" was written by Lovato along with the Jonas Brothers, who produced it with John Fields. The song features Dorian Crozier and Michael Bland on drums, and Fields on bass, guitars and keyboards. Nick Jonas also played the guitar and percussion on the song. The song is registered as "Did You Forget" with the Broadcast Music, Inc. Lovato has stated that "Don't Forget" is one of the songs on Don't Forget that they relate to the most, and that they felt "a lot of emotion while recording it". In an interview with PopEater, they elaborated, "Everyone goes through the experience of falling in love, but then the other person just walks away, and goes somewhere else. I went through an experience like that and wanted to write about it. I got over it, and now a year later I don't have those feelings about that person anymore." The song and "La La Land" were included as bonus tracks on European editions of their sophomore album Here We Go Again.
9630_3	"Don't Forget" is a midtempo glam rock ballad sung with vulnerable and breathy vocals in a falsetto tone. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in common time with a metronome of 92 beats per minute. It is composed in the key of E major and Lovato's vocal range spans from the note of C4 to the note of E5. The song includes a "rocking" instrumental and a heavy guitar break. Ed Masley of The Arizona Republic compared the track to songs by Green Day. Lyrically, "Don't Forget" is about one of Lovato's old love interests who left them just as they were falling in love with him. The theme is demonstrated in lyrical lines such as, "Did you forget that I was even alive? Did you forget everything we ever had?"
9630_4	Music video "Don't Forget" was directed by Robert Hales. According to Lovato, different video treatments had been written, but they rejected them as they wanted to come up with the idea themselves. Lovato said, "They had treatments [for the video], but I was just like, 'No, scratch them.' I want to come up with the idea. I want to show you the colors, I want to show you everything. This is art to me and I don't want it to be somebody else's decision." In an interview with PopEater, Lovato said of the video:
9630_5	"It was actually really freezing cold [in the rain]. You could see your breath. And I was in the rain for only a short time – my whole band was out there for an hour-and-a-half. It was one of the hardest things I've ever had to do on a shoot. But it went by so quickly. I had a body suit on underneath my clothes, so there's a little fun fact for you. I was trying not to break my focus pretty much the entire shoot, because I was really in that zone – thinking a lot about the position I was in a year ago... thinking about the situation and how much I wanted to get all that emotion off my chest."
9630_6	Steve Helling of People magazine wrote that Lovato shows their mature side in the video, saying that "it's hard not to notice that the 16-year-old Camp Rock star is growing up." The video begins in a tour bus with Lovato's band. They are seen sitting next to a window in the back of the bus, where Lovato precedes to sing the first lines. As the song progresses, they walk out of the bus in the rain, holding an umbrella. They walk out of the parking lot and into an amusement park, where Lovato stands in front of a carousel in the rain as they continues to sing. After the second chorus, Lovato and their band perform in the rain with the water altering colors in the background. As the last verse approaches, they are back on the tour bus. A single tear rolls down Lovato’s cheek and the video ends. Live performances
9630_7	Lovato performed "Don't Forget" on The Ellen DeGeneres Show on April 14, 2009. Also in April 2009, the song was performed as part of the iTunes Live from London series. The full performances were released as an iTunes Store-exclusive extended play featuring recorded live versions of the tracks. In May 2009, Lovato performed the song at a Walmart concert, which was later released as part of a live album entitled Demi Lovato: Live: Walmart Soundcheck (2009). The release featured recorded live versions of the performers on a CD, and the full performances on a DVD.
9630_8	During the summer of 2008, Lovato performed the song in both of their Warm Up Tour and the Jonas Brothers' Burnin' Up Tour, for the latter they served as the opening act. Later in 2009, the song was performed during their Summer Tour 2009. While reviewing a show in Glendale, Arizona, Ed Masley of The Arizona Republic wrote that the song "survived the transformation to an unplugged ballad, making the most of Lovato's most vulnerable vocal performance of the night." In 2010, they performed the song during their South American tour. Lovato also performed the song during their set at the Jonas Brothers Live in Concert World Tour 2010. Scott Mervis of Pittsburgh Post-Gazette wrote that Lovato performed a "high-energy, high-volume" version of the song. In September 2011, Lovato performed the song during the revue concert An Evening with Demi Lovato. Lovato also performed an acoustic medley of "Don't Forget" and "Catch Me" at the Vevo Certified SuperFanFest in 2014. Critical reception
9630_9	The song was well-received from music critics. Ed Masley of The Arizona Republic included "Don't Forget" on his "Top 10 from the Disney girls" list at number two, and wrote, "[They] really sells this epic glam-rock ballad with her choked-up vocals, [...] [They] wrote it with the Jonas Brothers, one of whom has clearly been enjoying Green Day's latest work. But truthfully, this would have been among the more compelling anthems on '21st Century Breakdown'." Judy Coleman of The Boston Globe wrote, "Lovato has already mastered the limited range of skills required of today's pop starlets: the vulnerable-kitten verse, the banshee-shriek chorus, the stiffly sexy whispered asides. [They] rhyme 'we used to be so strong' and 'our love is like a song' without irony". Michael Menachem of Billboard wrote that Lovato, like Miley Cyrus before them, "has also stepped away briefly from the tween sound with their album's title track, 'Don't Forget'." Menachem wrote, "[They] may be reaching a new level
9630_10	with a poised vocal performance, as [they] too [are] looking to be taken seriously." Joey Guerra of The Houston Chronicle called the track an "age-appropriate blueprint laid out by Hilary Duff and [Miley] Cyrus".
9630_11	Chart performance Due to strong digital sales when the album was released, "Don't Forget" debuted on the Billboard Hot 100 at number sixty-eight on October 11, 2008 and fell off the chart the following week. On April 4, 2009, it re-entered the chart at number eighty-four. The song steadily ascended the chart for three weeks, before eventually reaching a peak of number forty-one on its fifth week on the chart. It was Lovato's best performing solo song on the chart until "Here We Go Again" reached number fifteen on August 8, 2009. As of October 2017, it has sold 1.1 million copies in the nation. In Canada, "Don't Forget" debuted on the Canadian Hot 100 at number eighty-two on May 2, 2009. The next week, it reached seventy-six, which became its peak. The song also reached number sixty-two on the now defunct Pop 100 chart.
9630_12	Credits and personnel Recording and management Recorded at Wishbone Studio Mixed at Mix LA Mastered at Sterling Sound Seven Peaks Music obo Itself and Demi Lovato Publishing (ASCAP); Jonas Brothers Publishing LLC (BMI)/Sony/ATV Songs LLC administered by Sony/ATV Music Publishing. All Rights Reserved. Used By Permission. Personnel Demi Lovato – vocals, guitar, songwriting Nick Jonas – songwriting, guitars, percussion Joe Jonas – songwriting Kevin Jonas II – songwriting Dorian Crozier – drums Michael Bland – drums John Fields – bass, guitars, keyboards, programming, production, recording Jonas Brothers – production Chris Lord-Alge – mixing Nik Karpin – assistant Ted Jensen – mastering Credits adapted from Don't Forget liner notes. Charts Weekly charts Sales References External links
9630_13	Demi Lovato songs Music videos directed by Robert Hales Glam rock songs 2000s ballads Rock ballads Songs written by Joe Jonas Songs written by Nick Jonas Songs written by Kevin Jonas Hollywood Records singles Songs written by Demi Lovato 2008 songs Songs composed in E major Song recordings produced by John Fields (record producer)
9631_0	Lone Wolf is a series currently consisting of 31 gamebooks, created by Joe Dever and initially illustrated (books 1-8) by Gary Chalk. Dever wrote the first 29 books of the series before his son Ben, with help from French author Vincent Lazzari, took over writing duty upon his father's death. The first book was published in July 1984 and the series has sold more than 12 million copies worldwide. The story focuses on the fictional world of Magnamund, where the forces of good and evil are fighting for control. The main protagonist is Lone Wolf, last of his caste of warrior monks known as Kai Lords, although in latter books the focus shifts on one of his pupils as the main character. The book series is written in the second person and recounts Lone Wolf's adventures as if the reader is the main character. Original publication (1984 - late 1990s)
9631_1	Development and popularization Joe Dever was seven years old when he became a fan of the British comic series The Rise and Fall of the Trigan Empire, which appeared in the magazine Look and Learn. He built armies of Airfix Roman soldiers and converted their spears to laser rifles, long before he was introduced to fantasy. Dever was introduced to "science fantasy" by his high school English tutor. He was the first and possibly only British person to compete in the Advanced Dungeons and Dragons Championship of America, which he won in 1982. Dever has stated that his earliest inspirations for Lone Wolf were medieval classical texts such as Beowulf, Gawain and the Green Knight and Le Morte d'Arthur. In his teenage years Tolkien, Moorcock and Mervyn Peake along with military history and Norse mythology all contributed to the creation of the Kai. He also used travel books to discover images of "exotic places".
9631_2	Dever developed the world of Magnamund from 1975 to 1983 as a setting for his Dungeons & Dragons campaigns. Originally called "Chinaraux", the world consisted of only northern Magnamund. The Kai lords are like "psionic rangers with special powers bestowed upon them by their gods". An individual book took 9 weeks to write, with three for mapping and plotting, and then 6 weeks of writing the story, creating an average of 12 entries per day. Dever was originally contracted by London-based publisher Hutchinsons for four books, despite having planned out at least 13 for the series. When the first books proved to be popular, Dever was allowed an extension of contract and went on to write 20 books with Lone Wolf as the main hero, and 8 more featuring a new Kai Lord. He also developed the character Grey Star during this period, and four books were written using this character by Ian Page.
9631_3	Dever also wrote The Magnamund Companion, in which all countries of the Lone Wolf world are described in some detail; readers are also given details on the Darklords and a trainer course in the Giak language. There are two games included, a Ragadorn Tavern Board game, and a short solo adventure that takes place immediately prior to book one, putting the player in the role of Banedon, a young magician who goes on to become a recurring character in the Lone Wolf books.
9631_4	Novelizations and canon problem With the help of Joe Dever, Paul Barnett, whose pen name is John Grant, wrote twelve novelizations of the Lone Wolf books known as the Legends of Lone Wolf, several of which were heavily edited before publication. They have received mixed reviews from fans. Barnett was the creator of the characters Alyss, Qinefer, and Thog. Random House stopped publishing the novelizations after the twelfth book because "the books weren't selling," though the truth of this statement is contested. Barnett entered discussions with an Italian publisher about reprinting the books unedited in Italian, this finally occurring with some editing of the original text. In July 2009, he announced on his blog that Dark Quest Books would republish an upgraded version of the series in English beginning in 2010. As of April 2015, two omnibuses, containing the first six novels of the series, have been published, with a third one being listed on the publisher's website.
9631_5	There has long been uncertainty amongst fans as to which version of the series is canon. Joe Dever has stated that as the game books precede the novelization, they are the "authoritative" versions. There is still some cross over between the novelizations and the gamebooks, however; most notably in the form of Alyss, an original character of John Grant's who plays a significant role in the final books of the Grand Master series.
9631_6	Only the first four volumes of the Legends of Lone Wolf were made available in the United States (though Sword of the Sun was divided into two separate volumes, The Tides of Treachery and Sword of the Sun), and only the first 20 of the core Lone Wolf gamebook series were made available in the United States; the last 8 books were never printed in the US. It should also be noted that the American editions of books 13-20 were abridged versions and thus are shorter than the UK editions. The color maps of the UK versions are rendered in black and white in American editions.
9631_7	Decline of the genre, launch of Project Aon During the latter period of writing, Joe Dever and publisher Red Fox were at odds, and Red Fox ceased publishing the Lone Wolf series after book 28, The Hunger of Sejanoz, citing lack of interest in the interactive gaming genre, despite hundreds of requests for the reprinting of several Lone Wolf books that had gone out of print. This left the series unfinished, as Dever had 4 other books planned. He first did plan on releasing these books in some form after completing his collaboration on the new Lone Wolf RPG.
9631_8	Although the series ceased publication and went out of print in 1998, a fan-operated organisation called Project Aon was established in 1999 which has subsequently converted many of the books to HTML format. Joe Dever first gave his permission for Project Aon to distribute the Lone Wolf books (1 to 20) online via the internet before eventually also giving the rights for the New Order series (21 to 28). However, a strong interest in Lone Wolf outside the English-speaking world, particularly in Italy, Spain, and France where the books were republished between 2002 and 2006, still existed.
9631_9	As of December 2020, 29 of the 31 Lone Wolf gamebooks, the World of Lone Wolf series, the Magnamund Companion, and several other Lone Wolf related written works are available for download on the Project Aon website. Despite the online publication, the original print copies of gamebooks 21 through to 29 and the 12th Legends novel remain both rare and sought after and, as of June 2020, copies in "good" condition sell online for between $150 and $600 USD. Republication and expansion A first republication of the series was started in 2007 and is still ongoing. A second one is planned for 2022.
9631_10	The Collector's Edition In 2007, Joe Dever announced that a revised and expanded version of the original series, called the Collector's Edition, would be published. Plans were also made to publish the final four books of the series for the very first time. However, several issues led the author to transfer the rights to various publishers over the years, with each publisher only releasing a part of the series. Mongoose Publishing (2007 - 2013) In 2007, Mongoose Publishing, editor of the Lone Wolf RPG, announced that the Lone Wolf books were going to be printed again. Mongoose Publishing planned to publish all the original 28 gamebooks of the series plus four new ones that were originally outlined by Joe Dever before the cancellation of the series by the end of 1990s. Mongoose republished 17 of the gamebooks from July 2007 to February 2013.
9631_11	Mantikore-Verlag (2013 - 2015) In February 2013, after Mongoose had released 17 of the 28 original books, the publication of the rest of the series was transferred to a German publisher, Mantikore-Verlag. The deal only include the republication of the last eleven books of the original series (18-28) and did not include the first publication of the new four books (29-32). On 1 April 2015, it was announced that book 29 would be first published in Italian by Vincent Books in November 2015, and then in English by Mantikore-Verlag the following month. However, the English version was not published as the rights transferred once again before the publication, after Mantikore had released books 18 to 22.
9631_12	Cubicle 7 (2015) Since April 2013, Joe Dever had made a partnership with Cubicle 7 to work on the series, which led to the publication of a new version of the role-playing game. In December 2015, Cubicle 7 Entertainment announced that they would be publishing the entire series of Lone Wolf gamebooks, including the English version of Lone Wolf 29, only to come back on their decision the following month. Holmgard Press (Since 2016) On 1 April 2016, Joe Dever announced that he would publish the remaining Lone Wolf books himself with his own imprint, Holmgard Press, starting with the publication of book 29 later the same month, which was finally published on 13 May 2016, 18 years after the publication of book 28. This included the publication of the four gamebooks that were never published before (29 to 32) and the republication of the gamebooks that were neither republished by Mongoose or Mantikore (23 to 28).
9631_13	Following Dever's death in November 2016, his son Ben and longtime fan Vincent Lazzari were tasked to complete the series. Book 30, Dead in the Deep was published in Italian in 2018 with plans to publish it in English in 2019, along with book 23, Mydnight's Hero. Both books were released on June 27. As of July 2021, Holmgard Press has published books 23 to 27 and 29 to 31. Megara Entertainment (Since 2014) In September 2014, the publisher Megara Entertainment announces the publication of a spinoff, Autumn Snow, approved by Joe Dever and written by Martin Charbonneau, and calls for a crowdfunding to finance original illustrations from Gary Chalk. This is the adaptation of a work from Martin "The Oiseau" Charbonneau previously published in French the webzine Draco Venturus by the non-profit publisher . Two books have been published so far, The Pit of Darkness and The Wildlands Hunt.
9631_14	Megara also republished the first book of The World of Lone Wolf series, written by Ian Page, Grey Star The Wizard. The Definitive Edition In June 2021, it was announced that Holmgard Press would make a second reprint of the whole series called the Definitive Edition, leading to the publication of the last book of the series, Light of the Kai, in November 2023. On October 31st, 2021, it was announced that the first three books of the Definitive Edition will be launched together in January 2022. Reprint edition details
9631_15	Extended version of Flight from the Dark and The Hunger of Sejanoz The first book has been partially rewritten and extended by Joe Dever, which now has 550 sections instead of the original 350. The republished first Lone Wolf book features a retcon of the opening of the book, where instead of Lone Wolf waking to find everyone at his monastery dead, he joins the fight. Dever has stated that, since he has the chance, and considers himself a better writer, that this is a good opportunity to make a better beginning. Longtime fan and now assistant Jonathan Blake said of the retconning that overall, despite his love of the original, the surprises, grittier illustrations, and better writing have "won him over". The last book that was originally published in the series at the end of the 90s, The Hunger of Sejanoz, had only 300 sections at the time of publication. Holmgard Press plans to extend this book to 350 sections with a publication scheduled for 2022.
9631_16	Differences between the various editions Holmgard Press makes a difference between the first republication of the series by various publishers, their own second republication and the first publication of gamebooks 29 to 32. The first republication of the first 28 gamebooks (made by Mongoose, Mantikore-Verlag and Holmgard Press) are called Collector's Edition. They have a hardcover and contain a bonus mini-adventure added at the end of each book (except book 1) featuring a character that is encountered during the main adventure or that lives events linked to it. These bonus adventures are written by various authors under the supervision of Dever himself and don't have the same amount of sections than the main adventure.
9631_17	Gamebooks 29 to 31 have been published for the very first time by Holmgard Press between 2016 and 2020 and are called First Edition by the publisher. The three books share common elements with the Collector's Edition of the other gamebooks, with a hardcover and a bonus adventure for books 29 and 30. However, they lack the Collector's Edition tag on the cover and book 31 doesn't have a bonus adventure like the other ones. The second republication of the full series, which will be made by Holmgard Press starting in January 2022, will be called Definitive Edition. It won't have the bonus adventures like the Collector's Edition but will feature encyclopedic entries about different characters, places and artefacts that the player came across during the main adventure. The books will be available in hardcover and softcover versions, along with an ebook version. Holmgard Press also promises to make corrections to the text that weren't already implement in the previous Collector's Edition.
9631_18	Internal artwork The Collector's Edition of the books feature new internal artwork by Richard Longmore (books 1 to 12, 17 and 20), Nathan Furman (books 13 and 18), Pascal Quidault (books 14 to 16), Hauke Kock (book 19 and 21) and Stephanie Böhm (book 21). However, the original illustrations by the late Brian Williams were reused for books 22 to 27. For the First Edition of gamebooks 29 to 31, Giuseppe Camuncoli was hired to illustrate book 29, while Richard "Nerdgore" Sampson did the illustrations for books 30 and 31. For the Definitive Edition by Holmgard Press, it was announced that Richard "Nerdgore" Sampson will provide entirely new artwork for book 1. For books 2 to 8, the original art by Gary Chalk will be reused. No information is currently available for the internal artwork of the subsequent books.
9631_19	Illustrations for the various bonus adventures were done by Nathan Furman (books 2 to 11 and 17), Richard Longmore (books 12 to 16 and 23), Stephanie Böhm (book 18, 20 and 21), Aljosa Mujabasic (book 20), Hauke Kock (book 19, 22 and 24), Richard "Nerdgore" Sampson (book 25 and 26), Oliver "Koa" Cramm (book 27) and Adélaïde Euriat (book 29). No illustrations were made for the bonus adventure in book 30. Series synopsis Magnamund, a planet in the universe of Aon, is the focus of battle between the powers of Good, among them Kai (God of the Sun) and Ishir (Goddess of the Moon), and Naar, the evil God of Darkness. In the north-east of Magnamund's northern continent lies the realm of Sommerlund. Its people, the Sommlending, are devoted followers of Kai. There are those among them, known as Kai Lords or simply 'the Kai', who possess extraordinary innate abilities. Trained from childhood at the Kai Monastery, the Kai Lords are Sommerlund's greatest defense against Naar's agents.
9631_20	Naar's champions upon Magnamund are the Darklords, who dwell in the scorched wastes of the Darklands, west of Sommerlund. This realm, inhospitable to most life, enables the Darklords to survive on Magnamund — though powerful, they are greatly weakened by the natural atmosphere of their world. Forced to enact their will at a distance, the Darklords wage war with armies of Drakkarim (humans devoted to Naar), Giaks (goblin-like creatures spawned in vast numbers), and other creatures, and are served by agents such as Vordaks (undead with psychic powers) and Helghasts (shapechanging undead).
9631_21	At the Kai Monastery is a young initiate, given the name Silent Wolf. On the feastday of Fehmarn, when all the Kai Lords gather at the monastery, Silent Wolf is sent to cut wood from the surrounding forest as a punishment for his inattention in class. While he is gone, a surprise attack is launched from the Darklands at several places across Sommerlund. The Monastery is assaulted and the gathered Kai Lords massacred. Rushing back from the woods, Silent Wolf is knocked out by a low-lying tree branch (in the Legends of Lone Wolf novelizations based on the books, it's implied that the branch was placed there by a demi-goddess called Alyss so Silent Wolf would be spared the attack). When he awakes, he finds himself the only survivor. The last of the Kai, he renames himself Lone Wolf and sets out for the capital to inform the King of the loss of the Kai.
9631_22	In the re-release version of Flight from the Dark in 2007 by Mongoose Publishing, the beginning of the story is slightly different as Silent Wolf takes part in the battle. The Kai Series The Kai Series (gamebooks 1 to 5) follows Lone Wolf as he rallies the armies of Sommerlund and her ally, Durenor, to repel the invasion, pursues and captures the traitor who brought about the invasion, and survives plots to complete the destruction of the Kai.
9631_23	In Flight from the Dark, Lone Wolf reaches the King in Holmgard who then dispatches him to Durenor to recover the Sommerswerd in Fire on the Water, and returning to defeat Archlord Zagarna, leader of the Darklords. The third book, The Caverns of Kalte, finds Lone Wolf chasing the betrayer of Sommerlund, Vonotar, in the frozen northern wastes of Kalte. In The Chasm of Doom, Lone Wolf thwarts the resurrection of the first and most powerful Darklord, Vashna. At the end of the series, in Shadow on the Sand, Lone Wolf recovers the Book of the Magnakai, the ancient text which contains the higher lore of the Kai Lords through an encounter with Haakon, the new leader of the Darklords. With the massacre of the Kai, and Lone Wolf only an initiate, these teachings were thought to be lost.
9631_24	The Magnakai Series The Magnakai Series (gamebooks 6 to 12) continues the tale, with Lone Wolf now a fledgling Kai Master striving to understand the Magnakai teachings. The Book of the Magnakai, however, is ancient and incomplete. To perfect his understanding and train a new order of Kai Lords, Lone Wolf must follow the path of Sun Eagle, the first Kai Lord and author of the Book of the Magnakai. Sun Eagle quested for the wisdom encapsulated in the Lorestones of Nyxator, seven orbs scattered across Northern Magnamund.
9631_25	As Lone Wolf begins the same quest, however, war breaks out again. The Darklords have again rallied behind a new leader, Archlord Gnaag, and now hasten their invasion to defeat the Magnakai quest. In The Kingdoms of Terror, Lone Wolf pursues the quest through the war-torn realms to find the Lorestone of Varetta. Castle Death leads Lone Wolf to his first encounter with the Elder Magi and the capture of a second Lorestone in the fortress of Kazan-Oud. The third Lorestone is found in the Danarg swamp in The Jungle of Horrors. An old enemy from Shadow on the Sand is finally defeated in The Cauldron of Fear.
9631_26	Lone Wolf then makes the perilous journey to the edge of the Darklands, deep in the territory of the Darklords. There, in The Dungeons of Torgar, he falls into a void leading beyond the plane of Magnamund. Finding the final two Lorestones and finally settling the score with Vonotar, Lone Wolf is able to return to Sommerlund, chronicled in The Prisoners of Time. When Lone Wolf returns to Magnamund, he finds that 8 years have passed and most of the world is under the grip of the Darklords under the leadership of Archlord Gnaag. Ultimately, in The Masters of Darkness, Lone Wolf enters the Darkland capital of Helgedad and brings about the destruction of the Darklords after having faced and bested Archlord Gnaag himself in single combat.
9631_27	The Grand Master Series The Grand Master Series (gamebooks 13 to 20) continues the story of Grand Master Lone Wolf and introduces the restored order of Kai Lords. With the destruction of the Darklords, Naar and his agents abandon open warfare and seek new paths to dominance, often focused directly on Lone Wolf as the keystone of the forces of Light.
9631_28	In The Plague Lords of Ruel, Lone Wolf meets for the first time Archdruid Cadak, leader of the Cener Druids, and destroys the deadly virus they were creating to wipe out all life on Magnamund. Following that, the closest friend of Lone Wolf, Guildmaster Banedon, is kidnapped. The Kai Grand Master makes haste to save his friend in The Captives of Kaag. Meanwhile, Warlord Magnaarn of Nyras is trying to find the Doomstone of Darke to combine it with the Nyras Sceptre. In The Darke Crusade, Lone Wolf tries to find the Doomstone before the Drakkarim. For the second time, Lone Wolf prevents the resurrection of Darklord Vashna in The Legacy of Vashna.
9631_29	Shortly after, The Deathlord of Ixia comes into possession of the Deathstaff, an item to be used to resurrect Vashna. But while Lone Wolf is away from Sommerlund, Naar attempts to destroy the Kai Monastery for the second time in Dawn of the Dragons. Following his defeat, the Dark God executes a new plan for revenge on Lone Wolf by sending a doppelgänger named Wolf's Bane in the book of the same name. During the mission involving Wolf's Bane, Lone Wolf finds out that Naar had come into possession of the holy Moonstone. In his final mission, the Kai Grand Master infiltrates the Plane of Darkness to retrieve the sacred jewel in The Curse of Naar. The New Order Series The New Order Series (gamebooks 21 to 32) is intended to be 12 books long, although only the first eight books were originally released before the cancellation of the series in 1998. It took 18 years before the next book in this subseries got published.
9631_30	It features a new protagonist, a Grand Master in the Second Order of the Kai and a student of Lone Wolf, who is now Supreme Master. This series allows the player to 'customize' his character by allowing the choice of an individual name (originally, the name was speculated to be Falco Nero, or Black Hawk).
9631_31	Much of the series focuses on attempts by Naar's minions to use remnants of the power of Agarash the Damned, Naar's greatest champion and predecessor to the Darklords. The series is mostly set in Southern Magnamund, center of Agarash's empire, which was not featured in the earlier series. In Voyage of the Moonstone, the new protagonist is sent to the Isle of Lorn to return the Moonstone to its creators, the Shianti. However, this book ends midway during the trip, in Elzian. The second part of this adventure plays out in The Buccaneers of Shadaki. After completing this quest, the Grand Master is sent, in Mydnight's Hero, to the Isle of Sheasu to persuade Prince Karvas, heir of the King of Siyen, to return to his homeland to claim the throne before the evil Baron Sadanzo takes it.
9631_32	In Rune War, the Kai Order goes on a crusade to help the land of Lyris which has been invaded by the forces of Eldenora. The enemy leader, Lord Vandyan, has come into possession of the Runes of Agarash which grants him great power. At the end of the mission to destroy the runes, the Grand Master learns that Lone Wolf has been kidnapped and taken to the former Darklands' stronghold of Gazad Helkona. Similar to The Captives of Kaag, the Grand Master sets out to the rescue of his leader in Trail of the Wolf. A year later, in The Fall of Blood Mountain, the Grand Master is sent to help the Kingdom of Bor. Its inhabitants, the dwarves, have freed the evil Shom'zaa, who is now wreaking havoc in the caves of this subterranean land. He returns to southern Magnamund in Vampirium, to deal with Autarch Sejanoz of Bhanar, who has found the Claw of Naar, a powerful weapon. After retrieving this artefact from the Autarch, in The Hunger of Sejanoz the Grand Master escorts Xo-lin, emperor of Chai, to
9631_33	safety in the distant city of Tazhan across the Lissanian Plain as news of Sejanoz' invasion force reach the palace in Pensei.
9631_34	The following adventure, The Storms of Chai, takes place 18 years later. Just like for the Nyras Sceptre from The Darke Crusade, the Claw of Naar can be coupled with a mystical evil stone to increase its power. This jewel, the Eye of Agarash, is set on the throne of the Khea-Khan (emperor) of Chai and the mission of the Grand Master is to retrieve it. This is just one of the six missions Lone Wolf has given to his six Grand Masters: upon completing his mission, the Grand Master learns that two of his brothers have died during their own missions and that Grand Master Steel Hand has been captured by the forces of darkness near the Maakengorge.
9631_35	In Dead in the Deep, the Grand Master must rescue Steel Hand before it is too late. Traveling to the ruins of the Lyrisian city of Emolyria, the Grand Master discovers that the Lake of Blood, which once surrounded Helgedad, had moved to the bottom of the Maakengorge. The Nadziranim are using the power of the lake to open a Shadow Gate and bring forth the Tzomah, an incarnation of the Chaos-master of the Daziarn. Freeing Steel Hand, the Grand Master also destroys the hidden fortress under Emolyria. In The Dusk of Eternal Night, Archlord Vashna has returned but that is not the only danger the Grand Master must faces. An evil secret organisation is preparing a ritual to free the True Son of Naar and the Grand Master must stop it before it is too late. The last book of the series will be titled Light of the Kai.
9631_36	Reception The gamebook series was published between 1984 and 1998 in over 30 countries, translated into 18 languages, and sold in excess of 10 million copies worldwide. Each of the first 20 books had average print runs of 250,000. The response to the Lone Wolf book series has been largely positive. Three books of the series won "Game Book of the Year" between 1985 and 1987. The series was also awarded the Gamemaster International "All Time Great" award in 1991. The high quality of Joe Dever's descriptive prose receives especial praise, as well as the fact that the books, if played together, form a cohesive continuing story, with recurring characters (something not often seen in gamebooks).
9631_37	In the inaugural issue of The Games Machine, John Woods called the combat system "quite ingenious, including considerably more variety than that of Fighting Fantasy while being just as easy to use." He noted that one could play any book in the series as a standalone adventure, but recommended playing the books as an ongoing series, saying "the feel of a book is added to if it is played as part of an on-going saga - one of the factors that has made Lone Wolf so successful. Adaptations Film Three scripts were developed for a potential Lone Wolf film release but they did not proceed beyond the pre-production phase. However, in July 2009, a small company, called Convergence Entertainment, who produced the King of Fighters movie, announced that it had bought the rights to make a live-action film based on Lone Wolf.
9631_38	Audio The Legends of Lone Wolf novel Eclipse of the Kai was abridged as an audio book read by Edward da Souza on 7 May 1992. Another was recorded but not released. A version narrated and composed by Joe Dever was also made, but never released. There was also a series of telephone adventures called Phonequest, one of which was known as Fortress of Doom. Video games Three computer games were released during the late 1980s using the Lone Wolf license. The first two, published by Hutchinson, were adapted from the first two gamebooks, while the third entitled Mirror of Death from Audiogenic Software, featured an original storyline. Mirror of Death was well received by several game magazines.
9631_39	An online MMORPG was in development by fans with the support of Joe Dever and a playable demo had been released for beta testing, but development abruptly stopped when it was announced that a first-person computer game was being developed by Singapore-based Ksatria Gameworks Pte Ltd. Joe Dever was cited as Lead Designer on the project, for which no official release date have ever been announced. The studio also had the license to produce more Lone Wolf games. However, the company abruptly closed its doors in 2009 because of the worldwide financial crisis. The rights to make a video game were shortly held by Red Entertainment before the Italian company Forge Reply announced in August 2011 that it was working on a game for the next-gen consoles.
9631_40	In March 2013, an application for IOS and Android was unveiled by Forge Reply at the Game Developers Conference as a story occurring between the third and fourth books, taking Lone Wolf to a mining town to unravel a mystery. Called Joe Dever's Lone Wolf Complete, the first act of the story, called "Rockstarn", was released in November 2013. The following acts, named "Forest Hunt", "Shianti Temple", and "V’taag – The Dark Tower" respectively, were subsequently released. An adaption of the first five books for the Nintendo DS handheld console, called LoneWolfDS, is available in homebrew format. Lone Wolf Saga, a complete Android version of the first 20 gamebooks (the Kai, Magnakai and Grandmaster sub-series) is available, similarly Seventh Sense S is a complete Microsoft Windows version. All used Project Aon's licence and data. Two game modules for the game Neverwinter Nights were named after the Lone Wolf book series.
9631_41	On October 10, 2018, the Lone Wolf AR game was announced. Describing itself as the world's first augmented reality role-playing game, it was developed by Visionizar LTD and was launched at the Lucca Comics & Games event on October 31, 2018. Tabletop roleplaying game Several adaptations also exist of the Lone Wolf series, including Lone Wolf: The Roleplaying Game, a D20-style role-playing game from Mongoose Publishing Ltd UK. A second version of this role-playing game, Lone Wolf Multiplayer Game Book, with rules closer to those of the gamebooks, was also released by Mongoose. A third version, by Cubicle 7, is currently in preparation.
9631_42	In 2004 the license was adapted as Lone Wolf: The Roleplaying Game, a role-playing game by Mongoose Publishing under the Open Game License using Mongoose's OGL System. This has met mostly with praise for its adaptation of the Lone Wolf world, though some believe that there are many overlooked problems with the RPG, such as balance between classes and "hard to interpret" rules. Dever is credited with helping the game's principal designer, August Hahn, incorporate information from his final four unreleased books into the game. A line of miniatures was also created for the game. In March 2010, a new version of the roleplaying game called Lone Wolf Multiplayer Game Book, with rules closer to the ones of the gamebooks, was launched by Mongoose Publishing. The French editor took part of the development of the background. In March 2013, Cubicle 7 announced that it had obtained the rights to develop a roleplaying game based on Lone Wolf.
9631_43	On 30 October 2013, Cubicle 7 announced the development of a new roleplaying game, called Lone Wolf Adventure Game, as "a development of the previous Multiplayer Game". A crowdfunding was launched on Kickstarter and collected £68,000. On 26 August 2014, C7 publishes the character sheet with a summary of rules. The core rules were released in 2015 as a boxed set consisting of three books: Book of Kai Training, allowing players to create their own characters for the game, Book of Kai Wisdom, containing the rules to play the game, and the Book of Kai Legends which consists of two adventures and advice on creating future adventures. In addition to the books pre-generated characters and blank character sheets were included. The boxed set was designed to be played straight from the box, with the first adventure in the Book of Kai Legends allowing new players to start with the pre-generated characters and play immediately.
9631_44	See also Choose Your Own Adventure Fighting Fantasy, Advanced Fighting Fantasy Legends of Skyfall Way of the Tiger References External links Project Aon - Free downloadable Internet editions of the Lone Wolf gamebooks Linked 'walk-throughs' of the first twenty-two Lone Wolf gamebooks Official website of the Lone Wolf D20 Tabletop Game Lone Wolf translation to Russian Lone Wolf Kai Lord: Visual Journey - Tribute to the Legendary Book Series Fantasy gamebooks Gamebooks Series of books ZX Spectrum games British role-playing games Role-playing games introduced in 2004
9632_0	Space weather is a branch of space physics and aeronomy, or heliophysics, concerned with the time varying conditions within the Solar System, including the solar wind, emphasizing the space surrounding the Earth, including conditions in the magnetosphere, ionosphere, thermosphere, and exosphere. Space weather is distinct from but conceptually related to the terrestrial weather of the atmosphere of Earth (troposphere and stratosphere). The term space weather was first used in the 1950s and came into common usage in the 1990s. Later, it was generalized to a "Space Climate" research discipline which focuses on general behaviors of longer and larger-scale variabilities and effects. History For many centuries, the effects of space weather were noticed but not understood. Displays of auroral light have long been observed at high latitudes.
9632_1	Genesis In 1724, George Graham reported that the needle of a magnetic compass was regularly deflected from magnetic north over the course of each day. This effect was eventually attributed to overhead electric currents flowing in the ionosphere and magnetosphere by Balfour Stewart in 1882, and confirmed by Arthur Schuster in 1889 from analysis of magnetic observatory data. In 1852, astronomer and British Major General Edward Sabine showed that the probability of the occurrence of magnetic storms on Earth was correlated with the number of sunspots, demonstrating a novel solar– terrestrial interaction. In 1859, a great magnetic storm caused brilliant auroral displays and disrupted global telegraph operations. Richard Christopher Carrington correctly connected the storm with a solar flare that he had observed the day before in the vicinity of a large sunspot group, demonstrating that specific solar events could affect the Earth.
9632_2	Kristian Birkeland explained the physics of aurora by creating artificial aurora in his laboratory, and predicted the solar wind. The introduction of radio revealed that periods of extreme static or noise occurred. Severe radar jamming during a large solar event in 1942 led to the discovery of solar radio bursts (radio waves which cover a broad frequency range created by a solar flare), another aspect of space weather.
9632_3	Twentieth century In the 20th century the interest in space weather expanded as military and commercial systems came to depend on systems affected by space weather. Communications satellites are a vital part of global commerce. Weather satellite systems provide information about terrestrial weather. The signals from satellites of the Global Positioning System (GPS) are used in a wide variety of applications. Space weather phenomena can interfere with or damage these satellites or interfere with the radio signals with which they operate. Space weather phenomena can cause damaging surges in long distance transmission lines and expose passengers and crew of aircraft travel to radiation, especially on polar routes.
9632_4	The International Geophysical Year (IGY) increased research into space weather. Ground-based data obtained during IGY demonstrated that the aurora occurred in an auroral oval, a permanent region of luminescence 15 to 25 degrees in latitude from the magnetic poles and 5 to 20 degrees wide. In 1958, the Explorer I satellite discovered the Van Allen belts, regions of radiation particles trapped by the Earth's magnetic field. In January 1959, the Soviet satellite Luna 1 first directly observed the solar wind and measured its strength. A smaller International Heliophysical Year (IHY) occurred in 2007–2008. In 1969, INJUN-5 (a.k.a. Explorer 40) made the first direct observation of the electric field impressed on the Earth's high latitude ionosphere by the solar wind. In the early 1970s, Triad data demonstrated that permanent electric currents flowed between the auroral oval and the magnetosphere.
9632_5	The term space weather came into usage in the late 1950s as the space age began and satellites began to measure the space environment. The term regained popularity in the 1990s along with the belief that space's impact on human systems demanded a more coordinated research and application framework. US National Space Weather Program The purpose of the US National Space Weather Program is to focus research on the needs of the affected commercial and military communities, to connect the research and user communities, to create coordination between operational data centers and to better define user community needs. NOAA operates the National Weather Service's Space Weather Prediction Center. The concept was turned into an action plan in 2000, an implementation plan in 2002, an assessment in 2006 and a revised strategic plan in 2010. A revised action plan was scheduled to be released in 2011 followed by a revised implementation plan in 2012.
9632_6	Phenomena
9632_7	Within the Solar System, space weather is influenced by the solar wind and the interplanetary magnetic field (IMF) carried by the solar wind plasma. A variety of physical phenomena are associated with space weather, including geomagnetic storms and substorms, energization of the Van Allen radiation belts, ionospheric disturbances and scintillation of satellite-to-ground radio signals and long-range radar signals, aurora, and geomagnetically induced currents at Earth's surface. Coronal mass ejections (CMEs) are also important drivers of space weather as they can compress the magnetosphere and trigger geomagnetic storms. Solar energetic particles (SEP) accelerated by coronal mass ejections or solar flares can trigger solar particle events (SPEs), a critical driver of human impact space weather as they can damage electronics onboard spacecraft (e.g. Galaxy 15 failure), and threaten the lives of astronauts as well as increase radiation hazards to high-altitude, high-latitude aviation.
9632_8	Effects Spacecraft electronics Some spacecraft failures can be directly attributed to space weather; many more are thought to have a space weather component. For example, 46 of the 70 failures reported in 2003 occurred during the October 2003 geomagnetic storm. The two most common adverse space weather effects on spacecraft are radiation damage and spacecraft charging. Radiation (high energy particles) passes through the skin of the spacecraft and into the electronic components. In most cases the radiation causes an erroneous signal or changes one bit in memory of a spacecraft's electronics (single event upsets). In a few cases, the radiation destroys a section of the electronics (single-event latchup).
9632_9	Spacecraft charging is the accumulation of an electrostatic charge on a non-conducting material on the spacecraft's surface by low energy particles. If enough charge is built up, a discharge (spark) occurs. This can cause an erroneous signal to be detected and acted on by the spacecraft computer. A recent study indicates that spacecraft charging is the predominant space weather effect on spacecraft in geosynchronous orbit.
9632_10	Spacecraft orbit changes
9632_11	The orbits of spacecraft in low Earth orbit (LEO) decay to lower and lower altitudes due to the resistance from the friction between the spacecraft's surface (i.e. , drag) and the outer layer of the Earth's atmosphere (a.k.a. the thermosphere and exosphere). Eventually, a LEO spacecraft falls out of orbit and towards the Earth's surface. Many spacecraft launched in the past couple of decades have the ability to fire a small rocket to manage their orbits. The rocket can increase altitude to extend lifetime, to direct the reentry towards a particular (marine) site, or route the satellite to avoid collision with other spacecraft. Such maneuvers require precise information about the orbit. A geomagnetic storm can cause an orbit change over a couple of days that otherwise would occur over a year or more. The geomagnetic storm adds heat to the thermosphere, causing the thermosphere to expand and rise, increasing the drag on spacecraft. The 2009 satellite collision between the Iridium 33 and
9632_12	Cosmos 2251 demonstrated the importance of having precise knowledge of all objects in orbit. Iridium 33 had the capability to maneuver out of the path of Cosmos 2251 and could have evaded the crash, if a credible collision prediction had been available.
9632_13	Humans in space The exposure of a human body to ionizing radiation has the same harmful effects whether the source of the radiation is a medical X-ray machine, a nuclear power plant or radiation in space. The degree of the harmful effect depends on the length of exposure and the radiation's energy density. The ever-present radiation belts extend down to the altitude of crewed spacecraft such as the International Space Station (ISS) and the Space Shuttle, but the amount of exposure is within the acceptable lifetime exposure limit under normal conditions. During a major space weather event that includes an SEP burst, the flux can increase by orders of magnitude. Areas within ISS provide shielding that can keep the total dose within safe limits. For the Space Shuttle, such an event would have required immediate mission termination. Ground systems
9632_14	Spacecraft signals
9632_15	The ionosphere bends radio waves in the same manner that water in a swimming pool bends visible light. When the medium through which such waves travel is disturbed, the light image or radio information is distorted and can become unrecognizable. The degree of distortion (scintillation) of a radio wave by the ionosphere depends on the signal frequency. Radio signals in the VHF band (30 to 300 MHz) can be distorted beyond recognition by a disturbed ionosphere. Radio signals in the UHF band (300 MHz to 3 GHz) transit a disturbed ionosphere, but a receiver may not be able to keep locked to the carrier frequency. GPS uses signals at 1575.42 MHz (L1) and 1227.6 MHz (L2) that can be distorted by a disturbed ionosphere. Space weather events that corrupt GPS signals can significantly impact society. For example, the Wide Area Augmentation System (WAAS) operated by the US Federal Aviation Administration (FAA) is used as a navigation tool for North American commercial aviation. It is disabled by
9632_16	every major space weather event. Outages can range from minutes to days. Major space weather events can push the disturbed polar ionosphere 10° to 30° of latitude toward the equator and can cause large ionospheric gradients (changes in density over distance of hundreds of km) at mid and low latitude. Both of these factors can distort GPS signals.
9632_17	Long-distance radio signals
9632_18	Radio wave in the HF band (3 to 30 MHz) (also known as the shortwave band) are reflected by the ionosphere. Since the ground also reflects HF waves, a signal can be transmitted around the curvature of the Earth beyond the line of sight. During the 20th century, HF communications was the only method for a ship or aircraft far from land or a base station to communicate. The advent of systems such as Iridium brought other methods of communications, but HF remains critical for vessels that do not carry the newer equipment and as a critical backup system for others. Space weather events can create irregularities in the ionosphere that scatter HF signals instead of reflecting them, preventing HF communications. At auroral and polar latitudes, small space weather events that occur frequently disrupt HF communications. At mid-latitudes, HF communications are disrupted by solar radio bursts, by X-rays from solar flares (which enhance and disturb the ionospheric D-layer) and by TEC enhancements
9632_19	and irregularities during major geomagnetic storms.
9632_20	Transpolar airline routes are particularly sensitive to space weather, in part because Federal Aviation Regulations require reliable communication over the entire flight. Diverting such a flight is estimated to cost about $100,000.
9632_21	Humans in commercial aviation The magnetosphere guides cosmic ray and solar energetic particles to polar latitudes, while high energy charged particles enter the mesosphere, stratosphere, and troposphere. These energetic particles at the top of the atmosphere shatter atmospheric atoms and molecules, creating harmful lower energy particles that penetrate deep into the atmosphere and create measurable radiation. All aircraft flying above 8 km (26,200 feet) altitude are exposed to these particles. The dose exposure is greater in polar regions than at mid-latitude and equatorial regions. Many commercial aircraft fly over the polar region. When a space weather event causes radiation exposure to exceed the safe level set by aviation authorities, the aircraft's flight path is diverted.
9632_22	While the most significant, but highly unlikely, health consequences to atmospheric radiation exposure include death from cancer due to long-term exposure, many lifestyle-degrading and career-impacting cancer forms can also occur. A cancer diagnosis can have significant career impact for a commercial pilot. A cancer diagnosis can ground a pilot temporarily or permanently. International guidelines from the International Commission on Radiological Protection (ICRP) have been developed to mitigate this statistical risk. The ICRP recommends effective dose limits of a 5-year average of 20 mSv per year with no more than 50 mSv in a single year for non-pregnant, occupationally exposed persons, and 1 mSv per year for the general public. Radiation dose limits are not engineering limits. In the U.S., they are treated as an upper limit of acceptability and not a regulatory limit.
9632_23	Measurements of the radiation environment at commercial aircraft altitudes above 8 km (26,000 ft) have historically been done by instruments that record the data on board where the data are then processed later on the ground. However, a system of real-time radiation measurements on-board aircraft has been developed through the NASA Automated Radiation Measurements for Aerospace Safety (ARMAS) program. ARMAS has flown hundreds of flights since 2013, mostly on research aircraft, and sent the data to the ground through Iridium satellite links. The eventual goal of these types of measurements is to data assimilate them into physics-based global radiation models, e.g., NASA's Nowcast of Atmospheric Ionizing Radiation System (NAIRAS), so as to provide the weather of the radiation environment rather than the climatology.
9632_24	Ground-induced electric fields Magnetic storm activity can induce geoelectric fields in the Earth's conducting lithosphere. Corresponding voltage differentials can find their way into electric power grids through ground connections, driving uncontrolled electric currents that interfere with grid operation, damage transformers, trip protective relays and sometimes cause blackouts. This complicated chain of causes and effects was demonstrated during the magnetic storm of March 1989, which caused the complete collapse of the Hydro-Québec electric-power grid in Canada, temporarily leaving nine million people without electricity. The possible occurrence of an even more intense storm led to operational standards intended to mitigate induction-hazard risks, while reinsurance companies commissioned revised risk assessments.

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