title: Paramount Animation

text: The studio's second film, "The Little Prince", was released on July 29, 2015 in France. It was scheduled to be released on March 18, 2016 in the United States, but Paramount canceled the American release due to the French producers not paying an additional, previously agreed $20 million for the North American prints and advertising budget, however they still retained the distribution rights in France. It was later released onto Netflix on August 5, 2016 as a Netflix original film.


title: Paramount Animation

text: The studio's third film, "Anomalisa", was given a limited release on December 30, 2015 while getting a wider release in January the following year. It received positive reviews, but grossed $5.7 million on an $8 million budget.


title: Paramount Animation

text: On May 4, 2016, Paramount Pictures announced that they had signed a deal with UK-based Locksmith Animation to co-develop and co-produce three original animated projects to be released under the Paramount Animation label (with animation produced by DNEG).


title: Paramount Animation

text: The studio's fourth film, "Monster Trucks" was released to mixed reviews and became a box office failure, grossing $64.5 million on a $125 million budget and losing the studio $120 million.


title: Paramount Animation

text: In March 2017, Skydance Media formed a multi-year partnership with Ilion Animation Studios, forming Skydance Animation.


title: Paramount Animation

text: In April 2017, Paramount ended its deal with Locksmith Animation when Paramount chairman and CEO Brad Grey was replaced by Jim Gianopulos, who decided that their projects did not fit in with Paramount's other upcoming releases. Locksmith formed a multi-year production deal with 20th Century Fox four months later.


title: Paramount Animation

text: In July 2017, Paramount Pictures named former DreamWorks Animation co-president Mireille Soria as the president of the studio. Soria restructured the studio, increasing its number of employees from 10 to over 110, and created a new goal of releasing two tentpole animated films a year with different animation styles and genres. She would also look over the completion of "Sherlock Gnomes" and "Wonder Park", which were in production before her arrival. That same month, Skydance announced its first two animated feature films for Skydance Animation — "Split" (later retitled "Spellbound") and "Luck". Both films would be distributed by Paramount Pictures as part of their deal with Skydance. On October 10, 2017, Bill Damaschke was hired to head the division as president of animation and family entertainment.


title: Paramount Animation

text: The studio released its fifth film, "Sherlock Gnomes" on March 23, 2018, and became a critical and financial disappointment, grossing $90.3 million on a $59 million budget.


title: Paramount Animation

text: In April 2018, Paramount Pictures named former Blue Sky Studios and Nickelodeon Movies producer Ramsey Naito as the executive vice president of the studio. She later left the company in order to become the head of animation at Nickelodeon. In the same month, Soria greenlit the studio's first three animated features under her leadership to be released in 2020 and beyond: "The SpongeBob Movie: It's a Wonderful Sponge" (later renamed "Sponge On the Run"), Reel FX's "Monster on the Hill" (later renamed "Rumble"), and Skydance Animation's "Luck".


title: Paramount Animation

text: On January 14, 2019, Mireille Soria announced that the team at Paramount Animation will no longer work with Skydance Animation because of their hiring of former Walt Disney Animation Studios and Pixar CCO John Lasseter as the head of animation. "Luck" and "Spellbound" were still going to be released by Paramount Pictures without the Paramount Animation brand until Apple TV+ acquired the distribution rights to both films in December 2020 and made a larger pact with Skydance Animation in February 2021. Apple Original Films would replace Paramount for both "Luck" and "Spellbound".


title: Paramount Animation

text: The studio's sixth film, "Wonder Park" was released on March 15, 2019. It received mixed reviews and it became a box office flop, grossing only $119.6 million worldwide on a budget of less than $100 million.


title: Paramount Animation

text: In June 2019, Paramount Animation announced a new slate of animated features, including an animated Spice Girls film, a live-action/animated "Mighty Mouse" film, an animated film adaptation of "The Tiger's Apprentice", a musical film titled "Jersey Crabs" (later "Under the Boardwalk"), and the Imagine Entertainment co-production "The Shrinking of Treehorn".


title: Paramount Animation

text: The studio's seventh film "" theatrically released only in Canada on August 14, 2020, with a March 4, 2021 release in the United States on Paramount+ and a November 5, 2020 release internationally on Netflix due to the COVID-19 pandemic. The film received positive reviews from critics, and grossed $4.4 million worldwide with a $60 million budget.


title: Paramount Animation

text: In January 2021, Paramount Animation picked up two new films: an adaption of the upcoming Tom Wheeler book "C.O.S.M.O.S." and an original animated film from the Comedy Central star Trevor Noah.


title: Paramount Animation

text: On September 30, 2021, shortly after Brian Robbins replaced Jim Gianopulos as the chairman and CEO of Paramount Pictures, it was announced that Ramsey Naito would replace Mireille Soria as the president of Paramount Animation in addition to her current role as the president of Nickelodeon Animation Studio.


title: Paramount Animation

text: The studio's eighth film "Rumble" was released on December 15, 2021 on Paramount+. It was originally expected to be released on February 18, 2022, but due to the COVID-19 pandemic, it was later moved to Paramount+. It received mixed reviews.


title: Paramount Animation

text: On January 20, 2022, Latifa Ouaou (a veteran of both Illumination and DreamWorks Animation via Universal Pictures) was hired as the executive vice president of movies and global franchises for both Paramount Animation and Nickelodeon Animation Studio. In this position, Ouaou will oversee both streaming and theatrical films for the two companies. It was also revealed that "The Tiger’s Apprentice" (which was originally being directed by Carlos Baena) will now be directed by Raman Hui, with Paul Watling and Yong Duk Jhun being co-directors. Bob Persichetti (the Academy Award-winning co-director of Sony Pictures Animation's "") had also joined the film as a producer.


title: Paramount Animation

text: Initially, Paramount Animation did not have its own opening logo. Its first six features just used the standard Paramount logo. On September 19, 2019, Paramount Animation introduced a new animated logo featuring a character nicknamed "Star Skipper". When Mireille Soria came to Paramount Animation, one of the first goals set by Jim Gianopulos was to make a logo for the division. The crew wanted to put a female character in the logo because the studio's team is mostly female, and according to Soria, it captures "the magic" of the division. The logo and the character of Star Skipper were designed by "" lead visual development artist and art director Christopher Zibach and animated by ATK PLN and Reel FX Creative Studios. This logo debuted in front of "" in 2020. The logo's music is the same as the standard Paramount Pictures logo, which is composed by Michael Giacchino.


title: Paramount Animation

text: Similar to Warner Animation Group and Sony Pictures Animation, Paramount Animation outsources its animation production to other animation studios such as Mikros Image and Reel FX. "Rumble" was developed outside of Paramount Animation by Reel FX, but the studio acquired the rights to the film and co-produced it.


title: Paramount Animation

text: Like 20th Century Animation with animated films under 20th Century Studios, the studio also acts as somewhat of a distribution label for animated films that are made under or acquired by Paramount Pictures. The earliest case of this would be the aborted deal with Locksmith Animation. Additionally, "", originally expected to be distributed by Open Road Films and STX Entertainment, was acquired by Paramount to be distributed under Paramount Animation, later being distributed under Nickelodeon Movies.


title: Paramount Animation

text: Paramount Animation does not have an in-house animation style. According to Mireille Soria, each film has their own unique style created by the filmmakers, which would be helped by outsourcing animation to different vendors.


title: Paramount Animation

text: Paramount Animation announced that a television series based on Paramount and Nickelodeon's "Wonder Park", titled "Adventures in Wonder Park", would debut on Nickelodeon after the film's theatrical release.


title: Lara Johnson-Wheeler

text: Lara Lettice Johnson-Wheeler (born 12 June 1993) is a British arts and fashion journalist. She is the daughter of former British Prime Minister Boris Johnson and his second wife Marina Wheeler.


title: Lara Johnson-Wheeler

text: She was educated at Bedales School, followed by the University of St Andrews where she earned a degree in Latin and Comparative Literature.


title: Lara Johnson-Wheeler

text: Johnson-Wheeler was the feature editor at SHOWstudio for two years, and has contributed to "Tatler" and "Vogue".


title: Lara Johnson-Wheeler

text: She appeared on the front cover of the September 2021 edition of "Tatler", modelling Rigby & Peller shapewear in a feature about body positivity.


title: Contra (video game)

text: The arcade game was a commercial success worldwide, becoming one of the top four highest-grossing dedicated arcade games of 1987 in the United States. The NES version was also a critical and commercial success, with "Electronic Gaming Monthly" awarding it for being the Best Action Game of 1988. Several "Contra" sequels were produced following the original game.


title: Contra (video game)

text: "Contra" employs a variety of playing perspectives, which include a standard side view, a pseudo-3D view (in which the player proceeds by shooting and moving towards the background, in addition to left or right) and a fixed screen format (in which the player has their gun aimed upwards by default). Up to two people can play simultaneously, with one player as Bill (the blond-haired commando wearing a white tank top and blue bandana), and the other player as Lance (the shirtless dark-haired commando with a red bandana). The controls consists of an eight-way joystick and two action buttons for shooting (left) and jumping (right). When one of the protagonists jumps, he curls into a somersault instead of doing a conventional jump like in other games. The joystick controls not only the player's movement while running and jumping, but also his aiming. During side view stages, the player can shoot leftward, rightward or upward while standing, as well as horizontally and diagonally while running. The player can also shoot in any of eight directions, including downwards, while jumping. Pressing the joystick downwards while standing will cause the character to lie down on his stomach, allowing him to avoid enemy fire and shoot low targets. When the jump button is pressed while crouching on a higher platform, the character will drop down to a lower level.


title: Contra (video game)

text: The player's default weapon is a rifle with unlimited ammunition that can be upgraded into one of four other guns. These can be obtained by destroying the pill box sensors and flying item capsules containing them, or by defeating the red-clad guards in the enemy bases. These consist of a machine gun that fires rapidly when the fire button is held down, a laser gun that shoots a powerful beam, a fireball gun that shoots its rounds in a corkscrew pattern, and a spread gun that shoots five individual bullets in individual directions. There are also two auxiliary power-ups that only appear in certain areas when the character is armed with his default gun: a rapid-bullets upgrade that increases the firing speed of the gun's shots and a barrier that makes the character invulnerable for a limited period. With the exception of the machine gun and the laser gun, each item comes in the form of a Falcon-shaped symbol marked with a letter representing its function (F, S, R, and B).


title: Contra (video game)

text: The arcade version of "Contra" consists of seven stages (the number of stages and level structures vary in later versions). The first stage is a side-scrolling level where the player character is dropped into the jungle and must fend off the enemy's initial line of defense until he reaches the entrance of the first base, where he must destroy a large sensor to enter the base. The game switches to a 3D view for the second stage, where the player character must fight his way through a series of passageways inside the base before time runs out (a display at the top of the screen shows the map of the base and the time remaining). The player must destroy a generator at the other side of each passageway in order to deactivate the electric current preventing access. The third stage is set in the core of the base in a fixed screen, where the player must destroy the enemy's defense system in order to expose the final target, a giant eyeball that shoots fireballs. Stages 4 through 6 proceed similarly to the first three stages. Stage 4 is a vertically-scrolling level where the player must jump their way to the top of a waterfall until reaching the entrance of the second base, where the player must destroy a large diamond-shaped sensor guarded by a defense system in order to clear the stage. Stage 5 is another 3D stage set inside another base, while Stage 6 is another boss battle, this time against a pair of heads that split into two images each. The heads can only be damaged when their split images align together.


title: Contra (video game)

text: The seventh and final stage returns to the side-scrolling format of the first stage, as the player fights through the enemy's final line of defense (which includes a hovercraft, armored trucks, and giant helmeted soldiers) while proceeding through areas such as a snowfield, an energy plant and a hangar, to eventually reach the alien's lair, where the regular enemy soldiers are replaced with otherworldly creatures. The player must fight a giant alien head that spawns larvae from its mouth before reaching the final target, a cardiac creature that must be destroyed in order to complete the mission.


title: Contra (video game)

text: The player loses a life if their character (Bill or Lance) comes into contact with enemies or their missiles, fails to complete a base stage before the time limit, or falls into a bottomless pit. When that happens, the character will revert to his default weapon on his next life. After losing all lives, the player can continue by inserting more coins (if necessary) and pressing START, but only up to three times. A second player can join in anytime, but if one player loses all of their lives, they must wait until the other player loses their lives as well to continue together.


title: Contra (video game)

text: The arcade game was released in three versions. The Japanese and American versions are virtually identical, aside from the Japanese version using kanji characters to spell the game's title. However, the European version, titled "Gryzor", only allows two players to play the game alternating rather than simultaneously.


title: Contra (video game)

text: "Contra" is set in the distant future of the year 2633 A.D., when the evil Red Falcon Organization have set a base on the fictional Galuga archipelago near New Zealand in a plot to wipe out humanity. Two commandos, Bill Rizer and Lance Bean of the Earth Marine Corp's Contra unit (an elite group of soldiers specializing in guerrilla warfare), are sent to the island to destroy the enemy forces and uncover the true nature of the alien entity controlling them. The promotional materials for the US arcade version downplays the futuristic setting of the game, with the manual for the later NES and home computer versions changing the game's setting from the future to the present day and the location from Galuga to the Amazon Jungle.


title: Contra (video game)

text: Under license from Konami, Ocean Software produced ports under the title of "Gryzor" (the European arcade title) for the ZX Spectrum, Commodore 64, and Amstrad CPC, which were released in Europe in 1988. The Commodore 64 version was released in North America under the "Contra" title. Ocean's ports were patterned after the original arcade version of the game. An IBM PC version was developed by Banana Development Inc and released in North America. This version was released in Europe under the "Gryzor" name. The cover illustration of Ocean's "Gryzor" ports by Bob Wakelin was inspired by different poses of actor Arnold Schwarzenegger from the film "Predator". The illustration was later used for the packaging of the NES version. The Japanese MSX2 version had an exclusive photo cover; despite that, Wakelin's illustration was used in the back cover.


title: Contra (video game)

text: "Contra" was released for the Nintendo Entertainment System in North America in February 1988. This version was produced in-house by Konami and features several differences from the arcade release in order to better suit the NES's hardware. For example, sprites for effects (like explosions) are shown at 30fps instead of 60fps to work around the sprite limitations of the system. Another game to use this technique is "Recca". The Famicom version contains cutscenes, an additional music track, and environment effects which were removed from the NES version.


title: Contra (video game)

text: The game can be played by one or two players, but due to the graphical limitations of the NES, Bill and Lance lost their individualized character designs. Instead, they are both depicted as shirtless commandos distinguished by the colors of their pants (blue for Bill and red for Lance). When one player loses all of their lives, they are given the option to use the other player's stock to keep fighting.


title: Contra (video game)

text: The power-up icons for the Machine Gun and Laser Gun were also changed and are now represented by letter-based falcon symbols (M and L) used by the other weapons. The Rapid Bullets and Barrier power-ups are also more common in this version, since unlike the arcade game, the flying item capsules now appear regardless of which weapon the player character currently possesses. The NES version introduces a seventh item that clears the screen of all on-screen enemies when obtained.


title: Contra (video game)

text: The NES version recomposes the seven stages of the arcade version into eight stages. Stages 2 and 3 were combined into one stage, resulting in the renumbering of the Waterfall level from Stage 4 to Stage 3, while Stages 5 and 6 were combined into the new Stage 4. The final four stages of the NES version (the Snowfield, Energy Zone, Hangar and Alien Lair) are based on the different areas featured in the arcade version's final stage. The level designs themselves are drastically different from the arcade version too. The two base stages for example (Stage 2 and 4), no longer have their mazelike structures nor is there any time limit involved. The boss of the waterfall stage was also changed from a diamond-shaped sensor to an alien statue.


title: Contra (video game)

text: "Contra" was one of the early NES games to feature the Konami Code. Inputting the code at the title screen starts the player with thirty lives instead of the usual three. The cheat will be in effect as well when the player runs out of lives and uses a continue to retry a stage.


title: Contra (video game)

text: "Contra" was released for the Famicom in Japan on February 9, 1988. While the gameplay remains identical to the NES version released around the same month, the Famicom version has a custom-made Multi-Memory Controller that Konami produced called the VRC2 (in contrast to the UNROM board used by its NES counterpart). This allowed for the inclusion of cutscenes and a few graphical effects that were not possible in the NES version.


title: Contra (video game)

text: The game begins with a prologue sequence explaining the game's backstory, followed by a map of the Galuga archipelago, which is shown at the start of every stage to indicate the player's progress. Cutscenes are also shown between stages, depicting Bill (or Lance) giving a status report of his current situation to headquarters, and in later stages, shooting his gun towards the screen. The ending sequence is also slightly different and if the player holds the select and start buttons during the credits sequence, a secret message will be displayed after the Konami logo. Other differences include the addition of a sound test mode, added background animations in certain stages (such as windblown palm leaves in Stage 1 and a snowstorm in Stage 5), a different stage clear jingle when the player clears the final stage, and a level select cheat code.


title: Contra (video game)

text: Probotector is a modified version of the NES "Contra" that was released for the PAL region on December 28, 1990. This version redesigns the human protagonists and some of the enemy characters to give them a robotic appearance. This was done to circumvent the BPjM's censorship laws in Germany, which prohibits the sales of violent video games to minors. Subsequent "Contra" games for home consoles followed suit, all being released in the PAL region under the "Probotector" title and featuring similar modifications. Beginning with "", Konami abandoned the "Probotector" title and localized most of the further games with minimal changes.


title: Contra (video game)

text: An MSX2 version of "Contra" was released by Konami exclusively in Japan on May 26, 1989. The MSX2 version greatly differs from the arcade and NES versions. Due to hardware limitations of the MSX2, the game does not scroll but instead uses flip-screens like other MSX2 games such as "Metal Gear" and "Vampire Killer". The game uses the SCC sound chip.


title: Contra (video game)

text: Rather than one-hit kills, there is an energy gauge, which allows Bill Rizer to take more than one shot or hit before losing a life. There are two main power-ups in the MSX2 version, a Falcon-shaped power-up that increases the player's running and shooting speed, as well as a gun-shaped power-up which allows the player to change their current weapon. After picking up the weapon power-up, the player can choose between the default Normal Gun or four other weapons. The Spread Gun is not featured in this version, replaced by the Rear Gun similar to the tailgun in "Gradius II", which fires in two directions at the same time.


title: Contra (video game)

text: The MSX2 version "Contra" is composed of 19 stages. Stages 1 through 6 are drawn directly from the arcade version, whereas Stages 7 through 9 are based on the different areas featured in the final stage of the arcade version in a matter similar to the final four stages of the NES version. Stages 10 through 19 are new to this version and take place primarily in an underground facility underneath the Galuga Archipelago.


title: Contra (video game)

text: Unlike the arcade and NES versions, the MSX2 version is single-player only (Lance Bean does not appear in any form), and has no continuation feature; if a player loses all lives, the game will end immediately. However, the Game Master II utility cartridge can be used to save progress via its S-RAM backup feature.


title: Contra (video game)

text: In Japan, the arcade game topped the "" chart for table arcade cabinets in April 1987. In the United Kingdom, "Gryzor" was a blockbuster hit in the arcades and the home computer versions topped the Gallup charts. In the United States, "Contra" became one of the top four highest-grossing dedicated arcade games of 1987, and then the 1988 Nintendo Entertainment System port became and remained widely popular and remembered. Much of the game's popularity came from its two-player simultaneous co-op gameplay.


title: Contra (video game)

text: The arcade game received generally favorable reviews from critics upon release. Peter Shaw of "Your Sinclair" called "Gryzor" one of his "favourite" games at the time. Clare Edgeley of "Computer and Video Games" said "Lots of shooting and no time for a breather makes "Gryzor" one hell of a tiring game to play."


title: Contra (video game)

text: The NES version received a positive reception from critics. Arnie Katz, Bill Kunkel and Joyce Worley of "Computer Gaming World" called "Contra" on the NES "a truly outstanding action epic" set on a "scrolling and beautifully drawn playfield". Japanese gaming magazine "Famitsu" gave the Famicom (NES) version of the game a score of 27 out of 40. "Electronic Gaming Monthly" awarded it for being the Best Action Game of 1988. "AllGame" editor Skyler Miller praised "Contra", touting that the game "became the standard by which future platform shooters would be judged". The MS-DOS version of the game received a negative review in "Dragon" by Hartley, Patricia, and Kirk Lesser in "The Role of Computers" column in 1989; they criticized Konami's copy protection which prevented the game from booting up on their computer.


title: Contra (video game)

text: In 2004, the NES version of "Contra" was inducted into GameSpot's list of the greatest games of all time. "Contra" was voted by gaming website IGN as being the "Toughest Game to Beat". "Nintendo Power" ranked it as the seventh best NES game, calling it one of the best multiplayer NES games. "Electronic Gaming Monthly" listed the NES version as the 45th best console video game of all time, similarly saying that it "set the standard for all two-player simultaneous action games to follow." "GamesRadar" ranked it the 10th best NES game ever made, considering it possibly superior to the arcade version. "Game Informer" also included it in their list of best games ever at number 13. The staff noted that while not revolutionary, it was fun. In 2017, "Contra" ranked 82nd in "The Scientifically Proven Best Video Games of All Time", a statistical meta-analysis compiled by Warp Zoned of 44 "top games" lists published between 1995 and 2016.


title: Contra (video game)

text: "Contra" was followed by "Super Contra" later the same year. It is the only "Contra" sequel for the arcades developed in-house by Konami. Following the success of the NES adaptations of both the original and its sequel (which was retitled "Super C" in its American release), subsequent sequels were produced specifically for the home console market such as "" for the Super NES and "" for the Genesis, becoming one of Konami's landmark series. , the series has 12 installments.


title: Contra (video game)

text: The music from the arcade version of "Contra" is one of the soundtracks included in the video game album "Konami Game Music Vol.4: A Jax", which was released by Alfa Records on May 10, 1988, in CD (catalog no. 28XA-201), cassette (ALC-22922), and vinyl (ALR-22922).


title: Contra (video game)

text: In April 2017, Beijing Starlit Movie and TV Culture announced they were producing a live-action film version of "Contra" in China. Wei Nan is listed as the screenwriter. The project was scheduled for release on June 6, 2018, but it did not meet that release date.


title: Contra (video game)

text: While the Konami code was first introduced with the home versions of "Gradius", larger awareness of the code's existence in Konami's games grew significantly with its inclusion in the home versions of "Contra" (where it gave the player 30 extra lives to help complete the difficult game).


title: Contra (video game)

text: A board game adaptation is in development by Blacklist Games and Kess Co. and will be released in 2021.


title: Westworld (season 2)

text: The second season of the American science fiction western television series "Westworld" (subtitled "The Door") premiered on HBO on April 22, 2018, and concluded on June 24, 2018, consisting of ten episodes.


title: Westworld (season 2)

text: The television series was created by Jonathan Nolan and Lisa Joy, and it is based on the 1973 film of the same name, written and directed by Michael Crichton. The second season stars an ensemble cast led by Evan Rachel Wood, Thandiwe Newton, Jeffrey Wright, James Marsden, Tessa Thompson, and Ed Harris.


title: Westworld (season 2)

text: The second season has received positive reviews from critics, with particular praise for the performances. However, it received criticism for its plot, which was said to be confusing.


title: Westworld (season 2)

text: After killing Dr. Ford at the end of season one, Dolores converts and leads the other hosts in killing many of the other guests in the few weeks that follow. She seeks to find a way to get out of the park to continue her revenge, and knows she must recover her father Peter's "pearl" to do so and unlock Westworld's true secrets with it. Charlotte Hale, who was attempting to smuggle Westworld data through Peter, also seeks the host as she cannot call for extraction without that data. Bernard still struggles with the fact he is a host, and comes to learn that Dr. Ford still has significant influence on him and the park. Maeve is aided by Lee and Hector to find her daughter, while learning there are many other parks to Westworld. The Man in Black is forced to come to terms with why he has spent so much time in the park when he encounters his daughter Emily Grace.


title: Westworld (season 2)

text: Casting began in 2017, with a bulk of the first season's core cast confirmed to return for the new season throughout the year. Talulah Riley and Louis Herthum, who appeared as Angela and Peter Abernathy, respectively, were upgraded to main cast status in March. On July 11, 2017, Katja Herbers, Neil Jackson and Jonathan Tucker were among the new cast members to be announced. Gustaf Skarsgård, Fares Fares, and Betty Gabriel joined in August. It was announced on September 15 that Hiroyuki Sanada was cast in a major recurring role. Zahn McClarnon was announced as being cast on November 3, along with the news he had been injured in an off-set incident, causing a brief pause in the season's filming. An alternate version of the show's Super Bowl LII trailer revealed Peter Mullan had been cast, playing James Delos. An additional trailer in March revealed Rinko Kikuchi was cast as well. The cast was rounded out a few weeks prior to the season's April 22 premiere with Tao Okamoto, Kiki Sukezane and Julia Jones.


title: Westworld (season 2)

text: Filming began in the summer of 2017, continuing to use the outdoor sets such as the Paramount Ranch and the Melody Ranch. Harris stated in an interview that, to ensure the production remain on schedule, scenes for episodes later in the season would be filmed simultaneously with earlier episodes. Actor Jeffrey Wright noted that many of Bernard's scenes with Anthony Hopkins' character, Dr. Ford, for late-season episodes were filmed first; in contrast to the first season where Wright had some idea of Bernard's arc, he had to make guesses as what the writers had planned out for Bernard in this season, and adjust his acting accordingly. As a result of the December 2017 Southern California wildfires, production was halted once again.


title: Westworld (season 2)

text: Additional filming took place at the Frank Lloyd Wright-designed Millard House, which was used for Arnold's home in Shanghai, which at the time of filming had been on the market, making it easy to film in.


title: Westworld (season 2)

text: Djawadi explained that he made use of seemingly-anachronistic cover versions is intended as "a subconscious reminder of the fact that this world is not real". Djawadi eventually came up with the idea of using a player piano to play modern songs, hoping to make an allusion to the hosts being machines "created to evoke human emotion", however showrunner Jonathan Nolan instead choose the songs that relate to the narrative, to allow Djawadi adapt them, without the composer necessarily knowing the details. Like the previous soundtrack, it is composed with several original songs alongside the covers of other popular songs. These songs feature Kanye West's "Runaway", Scott Joplin's "The Entertainer", The White Stripes "Seven Nation Army", Nirvana's "Heart-Shaped Box", The Rolling Stones "Paint It Black", and Wu-Tang Clan's "C.R.E.A.M.". The soundtrack was released on June 25, 2018.


title: Westworld (season 2)

text: The season premiere debuted on April 16 at the Cinerama Dome in Hollywood, on April 18 at the 2018 Tribeca Film Festival and had many early screenings around the world prior to its April 22 airing. Showrunners Nolan and Joy revealed that certain episodes will be "super sized", running longer than the regular 60 minutes per episode from the previous season.


title: Westworld (season 2)

text: During the 2017 San Diego Comic Con, an immersive experience was set up for attendees in addition to a panel held by the producers and cast of the series. The first trailer for the season was aired as well. A second, full-length trailer was aired during Super Bowl LII.


title: Westworld (season 2)

text: The review aggregator website Rotten Tomatoes reported an 85% approval rating for the second season based on 470 reviews, with an average rating of 7.95/10; the average episode rating is 90%. The website's critical consensus reads, ""Westworld" builds on its experimental first season, diving deeper into the human side of AI without losing any of its stylish, bloody glory." Metacritic, which uses a weighted average, assigned a score of 76 out of 100 based on 29 critics, indicating "generally favorable reviews".


title: Westworld (season 2)

text: Critics received the first five episodes of the season as screeners before the first episode premiered. In a positive review for "San Francisco Chronicle", David Wiegand wrote, "there is plenty of action and violence in the first half of the season, but what will empower the show's longevity is its metaphysical theme, the exploration of the meaning and definition of human existence." Rob Owen of the "Pittsburgh Post-Gazette" also praised the series, saying, "It takes a bit for "Westworld" to get back up to full steam, but by episode three (five hours were made available to TV critics), this futuristic, violent drama returns to fine form, introducing new parts of the park (Shogun World!), new characters and apparently new technology goals on the part of Delos, the corporation that owns Westworld." Journalist Lorraine Ali of the "Los Angeles Times" said, "It's poised to be a intellectually stimulating and emotionally bumpy ride, where the very concept of your existence becomes the stuff of high-brow entertainment and low-bar thrills."


title: Westworld (season 2)

text: "The New York Times" TV critic James Poniewozik quipped, "don't expect too much improvement too fast from "Westworld" 2.0. It's still overly focused on balletic blood baths and narrative fake-outs, and much of the dialogue still sounds as if it were written as a tagline for a subway poster, like Dolores's 'I have one last role to play: myself.' But "Westworld" remains a glorious production to look at, and there are stretches where it feels invigorated by its new, expanded world—freer to breathe, relax, invent." Ben Travers of "IndieWire" wrote, "all around, the actors remain strong, including a number of new cast members. Where season 2 stumbles is its structure and pacing. Episodes don't carve equal time for everyone; they focus on the two most connected stories and sometimes break for an entire hour without getting back to a series regular." After the release of the third episode, "Forbes" criticized the season for departing too far from the show's roots and instead trying to be an "action blockbuster", arguing in part that the violence was overdone in comparison to the first season.


title: Westworld (season 2)

text: "Westworld" received six nominations and one win at the 70th Primetime Emmy Awards, nominations included Outstanding Drama Series, Ed Harris and Jeffrey Wright for Outstanding Lead Actor in a Drama Series, Evan Rachel Wood for Outstanding Lead Actress in a Drama Series, and Jimmi Simpson for Outstanding Guest Actor in a Drama Series. Thandiwe Newton won for Outstanding Supporting Actress in a Drama Series. For the 76th Golden Globe Awards, Newton was nominated for Best Supporting Actress – Series, Miniseries or Television Film.


title: Pantyhose

text: Pantyhose, called sheer tights, or tights, are close-fitting legwear covering the wearer's body from the waist to the toes. Mostly considered to be a garment for women and girls, pantyhose first appeared on store shelves in 1959 for the advertisement of new design panties (Allen Gant's product, 'Panti-Legs') as a convenient alternative to stockings and/or control panties which, in turn, replaced girdles.


title: Pantyhose

text: Like stockings or knee highs, pantyhose are usually made of nylon, or of other fibers blended with nylon. Pantyhose are designed to:


title: Pantyhose

text: Besides being worn as fashion, in Western society pantyhose are sometimes worn by women as part of formal dress. Also, the dress code of some companies and schools may require pantyhose or fashion tights to be worn when skirts or shorts are worn as part of a uniform.


title: Pantyhose

text: The term "pantyhose" originated in the United States and refers to the combination of "panties" (an American English term) with sheer nylon "hosiery". In British English, these garments are called "sheer tights". The term tights alone refers to all such garments regardless of whether they are sheer lingerie or sturdy outerwear.


title: Pantyhose

text: In American English, the term "tights" typically refers to pantyhose-like garments made from thicker material, which are generally opaque or slightly translucent. Opaque leg wear made of material such as spandex are often worn by both sexes for athletic activities or as utility clothing, and are usually referred to as "leggings", a term that includes casual wear. The primary difference between tights and leggings is that leggings can be worn as outerwear, whereas tights are not. In most cases, leggings will have a seam on the inside of the leg, whereas the legs of tights will be seamless. Leggings will often be footless, whereas tights usually will not.


title: Pantyhose

text: The history of pantyhose, as for stockings, is tied to that of changes in styles of women's hemlines. Before the 1920s, it was generally expected that women would cover their legs in public, including their ankles; and dress and skirt hemlines were generally to the ground. The main exceptions were in sports and entertainment, making tights a more suitable choice. In cases of high cut legs or fabrics that would produce a visible panty line, it was a practical necessity to wear them as the only lower undergarment. In the 1920s, fashionable hemlines for women began to rise, exposing the legs to just below the knees. Stockings also came into vogue to maintain leg coverage, as well as some level of warmth. The most popular stockings were sheer hosiery which were first made of silk or rayon (then known as "artificial silk"), and, after 1940, made of nylon, which had been invented by DuPont in 1938. During the 1940s and 1950s, stage and film producers would sew stockings to the briefs of their actresses and dancers, as testified to by singer-actress-dancer Ann Miller. These garments were seen in popular motion pictures such as "Daddy Long Legs".


title: Pantyhose

text: In 1953, Allen Gant Sr. of Glen Raven Knitting Mills developed a commercial equivalent to these hose that he named "Panti-Legs", but these were not brought to the open market until about 1959. During this time, Ernest G. Rice invented his own design for pantyhose similar to those worn today, and in 1956 he submitted a patent titled "Combination Stockings and Panty". This design was adopted by other makers, and this caused disputes in U.S. courts for many years before the patent was upheld some time after Rice's own death.


title: Pantyhose

text: Up until this time, there was little reason for women outside show business to wear "panty hose", as the longer hemlines allowed for the use of over-the-knee stockings secured with a garter belt. Nonetheless, during the 1960s, improved textile manufacturing processes made pantyhose increasingly more affordable, while man-made textiles such as spandex (or elastane) made them more comfortable and durable. The advent of the fashionable miniskirt, which exposed the legs to well above the knee, made pantyhose a necessity to many women. In 1970, U.S. sales of pantyhose exceeded stockings for the first time, and it has remained so ever since. Pantyhose became a wardrobe staple throughout the 1970s and 1980s.


title: Pantyhose

text: From 1995 a steady decline began, leveling off in 2006 with U.S. sales less than half of what they had once been. This decline has been attributed to bare legs in fashion, changes in workplace dress code, and the increased popularity of trousers.


title: Pantyhose

text: While sales of traditional styles did not recover, the 2000s saw the rise of other specific styles. Fishnet hose, patterns and colors, opaque tights, low-rise pantyhose, footless shapewear, and pantyhose for men (playfully referred to as "mantyhose") all experienced increased sales. In the 2010s, an increasing popularity for form-fitting opaque leggings paired with casual dress (and even some officewear) supplanted the fashion role previously held by pantyhose, although pantyhose remain popular as part of formalwear.


title: Pantyhose

text: Pantyhose generally have a standard construction: the top of the waist is a strong elastic; the part covering the hips and the buttocks (the panty area) is composed of a thicker material than for the legs. The gusset or crotch covering the genitalia is a stronger material, sometimes made of porous cotton, but the legs of the pantyhose are made of the thinnest usable fabrics, and it has a consistent construction down to the wearer's toes. These can be reinforced to guard against wear and tear.


title: Pantyhose

text: Most pantyhose are composed of nylon and a mixture of spandex, which provides the elasticity and form-fitting that is characteristic of modern pantyhose. The nylon fabric is somewhat prone to tearing ("running"), and it is common for very sheer hose to "run" soon after snagging on anything that is rough or sharp.


title: Pantyhose

text: Variations in pantyhose construction exist, such as with fishnet pantyhose. Pantyhose may be composed of other materials such as silk, cotton, cashmere or wool.


title: Pantyhose

text: Pantyhose are available in a wide range of styles. The sheerness of the garment, expressed as a numerical "denier"/'dtex", ranges from 3 (extremely rare, very thin, barely visible) up to 20 (standard sheer), 30 (semi opaque) up to 250 (opaque).


title: Pantyhose

text: Control-top pantyhose, intended to boost a slimmer figure, has a reinforced-panty section. The panty section may be visible when wearing short skirts or shorts.


title: Pantyhose

text: Sheer-to-waist pantyhose is sheer throughout, with the panty portion being the same thickness and color as the leg portion, and are designed for use with high-slit gowns, miniskirts, hot pants, or lingerie. Often sheer-to-waist pantyhose will be reinforced along and on either side of the seam in the middle of the panty. Often sheer-to-waist pantyhose comes with sandal toes - invisibly reinforced toes part.


title: Pantyhose

text: Open-crotch pantyhose, sometimes known as crotchless pantyhose, do not have a gusset. Instead, an opening is in place for hygiene or sexual-fetishism activities.


title: Pantyhose

text: Some pantyhose have single- or double-panel gussets incorporated into them. In single-panel, there are two seams instead of the usual one, with a single seam on the opposite side; with double-panel gussets, there are two seams on either side.


title: Pantyhose

text: This used to be the case but in the UK, local authorities accept clean, dry textiles along with other recyclables. This is both at recycling centres and curb-side collections. Textiles (including tights, pantyhose and stockings) which cannot be re-worn are recycled and turned into things like roofing felt. There are several internet sites which explain ways of reusing pantyhose (laddered or otherwise). In the US, nylon stockings, tights, and pantyhose can be sent to Recycled Crafts to be used in craft projects like pet toys, rugs, placemats, and table runners. Swedish Stockings, maker of hosiery, has a program to grind down old pantyhose for use in oil and grease traps. In the past, hosiery manufacturer No Nonsense had a recycling program, and so did Matter of Trust


title: Pantyhose

text: While usually considered to be a woman's garment, pantyhose can also be worn by men, for example for thermal protection, therapeutic relief or simply as a lifestyle choice. Race horse jockeys may wear pantyhose under their uniform to enable them to glide freely over the legs and waist when the jockey's body moves at a rapid pace. Some fishermen who surf fish from tropical beaches may wear pantyhose for protection from jellyfish whose stingers are triggered by contact with a chemical on bare skin. In the late 1990s, several manufacturers introduced pantyhose styles designed for men to cater to this niche market.


title: GeForce 16 series

text: The GeForce 16 series is a series of graphics processing units developed by Nvidia, based on the Turing microarchitecture, announced in February 2019. The 16 series, commercialized within the same timeframe as the 20 series, aims to cover the entry-level to mid-range market, not addressed by the latter. As a result, the media have mainly compared it to AMD's Radeon RX 500 series of GPUs.


title: GeForce 16 series

text: The GeForce 16 series is based on the same Turing architecture used in the GeForce 20 series, omitting the Tensor (AI) and RT (ray tracing) cores exclusive to the 20 series. The 16 series does, however, retain the dedicated integer cores used for concurrent execution of integer and floating point operations. On March 18, 2019, Nvidia announced that via a driver update in April 2019 they would enable DirectX Raytracing on 16 series cards starting with GTX 1660, together with certain cards in the 10 series, a feature reserved to the RTX series up to that point.


title: GeForce 16 series

text: The GeForce 16 series launched on February 23, 2019, with the announcement of the GeForce GTX 1660 Ti. The cards have a PCIe 3.0 x16 interface, which connects them to the CPU, produced with TSMC's 12 nm FinFET process. On April 22, 2019, coinciding with the announcement of the GTX 1650, Nvidia announced laptops equipped with built-in GTX 1650 chipsets. TU117 doesn't support Nvidia Optical Flow, which is useful for motion interpolation software. All TU117 GPUs use Volta's NVENC encoder (which has a marginally better improvement over Pascal) instead of Turing's.


title: GeForce 16 series

text: Following its June 2022 release, the GTX 1630 received negative reviews. A two-star review by Jarred Walton in "Tom's Hardware" criticised its price, especially considering that it was released 3 years after most of the 16 series, while only performing better than the GTX 1050. Walton wrote that "the only real contender for the GTX 1630 is AMD's recently launched Radeon RX 6400, but this new Nvidia card actually makes the lackluster 6400 look good". He concluded that "no one should give the GTX 1630 the time of day" and instead recommended the GTX 1650 and 1650 Super for their dramatically improved specs an performance for a similar price. "TechSpot" characterized the GTX 1630's specs as a "cutdown version of the GTX 1650" from April 2019 which is "3-year-old silicon that to put it mildly was pretty pathetic back then". Jacob Roach of "Digital Trends" noted that the GTX 1630 released in 2022 was outperformed by an AMD Radeon RX 470 from 2016.


title: GeForce 16 series

text: "Tom's Hardware" criticized the GTX 1650, noting that the 8GB variant of the RX 570 is "faster, less expensive and better able to handle games with big memory requirements."


title: GeForce 16 series

text: "Forbes" described the GTX 1650 as "a tempting choice for a super-small and power-efficient gaming PC". However, "when it comes to value and bang for your buck, AMD's RX 570 is the clear choice overall."


title: GeForce 16 series

text: "PC Gamer" described the GTX 1650 Super as a "no-brainer" and a ""super" easy recommendation" over the original 1650, as it only costs $10 more and is "consistently around 30 percent faster". However, they criticized the small amount of VRAM (4GB) and noted that users who have a PC which does not have PCIe power cables available have to "stick with the vanilla 1650" because the Super variant has a higher power consumption (75W vs 100W). Altogether, it has a "great overall value" and for now "claims the crown for best budget graphics card", being consistently faster than the RX 580 and coming close to the RX 590 when the VRAM is not a limiting factor.


title: GeForce 16 series

text: They found that the GTX 1660 Super "almost makes the 1660 Ti look redundant" and noted that "it outperforms anything AMD currently offers in the same price range", being "about 20 percent faster than the RX 590".


title: Phoneutria

text: Phoneutria is a genus of spiders in the family Ctenidae. Phoneutria venom is potentially medically significant to humans. They are mainly found in northern South America, with one species in Central America. Members of the genus are commonly referred to as Brazilian wandering spiders. Other English names include armed spiders ("armadeiras" in Brazilian Portuguese) and banana spiders (a name shared with several others).


title: Phoneutria

text: The spiders in the genus can grow to have a leg span of . Their body length ranges from . While some other araneomorph spiders have a longer leg span, the largest "Phoneutria" species have the longest body and the greatest body weight in this group. The genus is distinguished from other related genera such as "Ctenus" by the presence of dense prolateral scopulae (a dense brush of fine hairs) on the pedipalp tibiae and tarsi in both sexes. "Phoneutria" are easily confused with several other non-medically significant ctenids, especially "Cupiennius", in which the recently described "C. chiapanensis" also has bright red hairs on the chelicerae. Additionally, some "Phoneutria" species lack red hairs on the chelicerae, making it an unreliable identification feature. The presence of a dark linear stripe or stripes on the frontal (dorsal) palps and presence of a single thin black line running anterior-posterior along the dorsal carapace may help identify "Phoneutria". Other features are the strong ventral marking on the underside of the legs with contrasting dark mid-segments and lighter joints, and the pattern on the ventral (underside) of the abdomen with several rows of black dots, or an overall reddish colour.


title: Phoneutria

text: The characteristic defensive posture with frontal legs held high is an especially good indicator to confirm a specimen is "Phoneutria", especially alongside correct colour patterns. During the defensive display the body is lifted up into an erect position, the first two pairs of legs are lifted high (revealing the conspicuous black/light-banded pattern on the leg underside), while the spider sways from side to side with hind legs in a cocked position.


title: Phoneutria

text: The genus "Phoneutria" was started by Maximilian Perty in 1833. The genus name is from the Greek φονεύτρια, meaning "murderess". Perty placed two species in the genus: "Phoneutria rufibarbis" and "Phoneutria fera". The former is treated as a "nomen dubium"; the latter is the type species of the genus.


title: Phoneutria

text: Wandering spiders are so-called because they wander the jungle floor at night, rather than residing in a lair or maintaining a web. During the day they hide inside termite mounds, under fallen logs and rocks, in banana plants (hence the "banana spider" nickname), and bromeliads. "P. nigriventer" is known to hide in dark and moist places in or near human dwellings.


title: Phoneutria

text: "P. nigriventer" mates during the dry season from April to June, which leads to frequent observations of the species during this time.


title: Phoneutria

text: "Phoneutria" are found in forests from Costa Rica southwards throughout South America east of the Andes including Colombia, Venezuela, the Guianas, Ecuador, Peru, Bolivia, Brazil, Paraguay, and into northern Argentina. Three species ("P. reidyi, P. boliviensis and P. fera") are found in the Amazon region, one species ("P. fera") is restricted to the Amazon, and one ("P. boliviensis") ranges into Central America in Panama and Costa Rica. The remaining species are restricted to Atlantic Forest of Argentina, Paraguay and Brazil, including forest fragments in the Cerrado savanna. In Brazil, "Phoneutria" is only absent in the northeastern region north of Salvador, Bahia.


title: Phoneutria

text: These spiders acquired their other common name, "banana spider", because it is claimed that they are occasionally found in shipments of bananas, though the number of reports is exaggerated due to common misidentifications of unrelated spiders. A survey of spiders found in international shipments to North America revealed that only 7 of 135 spiders were "Phoneutria" species, six being "Phoneutria boliviensis" from bananas and one "Phoneutria nigriventer" from a shipment of electrical parts. Spiders from genera such as "Cupiennius" had been misidentified by experienced arachnologists. Cases continue to be reported but without evidence of expert identification. In 2005, a man was bitten in Bridgwater, England by a spider in a shipment of bananas and, in 2014, a south London family photographed a spider that they claim was in a bunch of bananas delivered to their home.


title: Phoneutria

text: The genus "Phoneutria" includes some of the relatively few species of spiders known to present a threat to humans. Danger to humans is not merely a question of toxicity, but requires the capacity to deliver the venom, a sufficient quantity of venom, a disposition that makes a bite likely and proximity to human habitation. The actual incidence of death or serious injury must also be considered. These spiders' wandering nature is another reason they are considered so dangerous. In densely populated areas, "Phoneutria" species usually search for cover and dark places to hide during daytime, leading them to hide in houses, clothes, cars, boots, boxes and log piles, where they may bite if accidentally disturbed.


title: Phoneutria

text: Spider mouthparts are adapted to envenomate very small prey; they are not well-adapted to attacking large mammals such as humans. Some believe that various spiders like "Phoneutria", that use venom mainly to kill prey, can deliver a "dry" bite in defense to purposely conserve their venom, as opposed to a more primitive spider like "Atrax" that usually delivers a full load. A study in March 2009 suggests that "Phoneutria" inject venom in approximately one-third of their bites, and only a small quantity in one-third of those cases. Another study similarly suggested that only 2.3% of bites (mainly in children) were serious enough to require antivenom. Other studies, as cited in the Wolfgang Bücherl studies, showed that the toxicity of "Phoneutria" venom was clearly more potent than both "Latrodectus" and "Atrax". Research in this area is hindered by the difficulty of identifying particular species. Nevertheless, there are a few well-attested instances of death. In one case, a single spider killed two children in São Sebastião. The spider was positively identified as a "Phoneutria" by Wolfgang Bücherl. Fatalities are usually attributed to respiratory arrest, secondary to systemic effects, or directly to envenoming. Systemic effects occur in 9% to 27% of cases; symptoms at the sites are more frequent, occurring from 83% to 96% of cases. The severity of the cases can be related to the sex of the spider, since the male produces less venom and is less lethal than the females, except for "P. boliviensis", where the male is more toxic. Symptoms may appear within 10 to 20 minutes after the bite, and death within two to six hours, where severe pain radiates to the rest of the limb, systemic effects include tachycardia, increased blood pressure, vertigo, fever, sweating, visual disturbances, nausea, vomiting, difficulty breathing and paralysis. Death is usually caused by respiratory arrest. These spiders seem to produce a smaller amount during cold months (June to September) a minimum amount of 0.03 mg, an average of 0.44 mg and a maximum of 1.84 mg, during the summer months. The maximum amount among individuals was 3.10 mg (October 26), 4 mg (November 3), 5 mg (November 4) and 8 mg (October 31); 7 mg of dried venom is enough to kill 500 mice subcutaneously and 1,000 intravenously.


title: Phoneutria

text: "P. nigriventer" is the species responsible for most cases of envenomation in Brazil because it is commonly found in highly populated areas of southeastern Brazil, such as the states of São Paulo, Minas Gerais, Rio de Janeiro and Espírito Santo. The species "P. fera" is native to the northern portion of South America in the Amazon of Brazil, Venezuela, Ecuador, Peru and the Guyanas.


title: Phoneutria

text: A 45-year-old man, with no nervous background, employed in the agricultural section of the Butantan Institute, working barefoot, was bitten at 10:40 AM on the small toe of his left foot by a medium-sized "Phoneutria". Immediately he felt intense pain that radiated to his foot and leg. He also reports visual disturbances, and when he tried to enter the house, he fell, without strength, he was supported by two men to the laboratory, where he was examined, he could not stand, had difficulty seeing, and difficulties to talk (couldn't answer the questions), complaining of severe general pain and intense cold. He was sweating profusely, there was hyper nasal secretion and salivation, which made him blow and spit constantly. He was agitated, with generalized tremors and continuous cramps in his left foot and leg, an irregular pulse with 112 beats per minute. An hour after the accident, the serum was injected into the left buttock. During the next hour, the pulse became faster, thready, almost uncountable, and the temperature decreased, with a worsening of the general condition. At 12 o'clock, a new injection of serum and at 13 o'clock, there was an improvement in the state.


title: Phoneutria

text: In another case, a 22-year-old woman, four months pregnant, was bitten on the hand. She experienced severe generalized pain with paroxysm, had difficulty keeping up and talking, moaned, had cramps, generalized tremors, excessive sweating, and rapid pulse (140–150 beats per minute); after receiving the antidote the victim stabilized. In another case, a 16-year-old boy was bitten on his left hand. The victim had severe general pain, visual disturbance, generalized tremors, cramps, profuse sweating, and a weak, irregular to rapid pulse.


title: Phoneutria

text: A 23-year-old market worker moving a bunch of bananas was bitten on his hand by "P. nigriventer" in São Paulo, Brazil. The specimen measured 3.5 cm long and 6 cm with his legs. It was reported that the wound was extremely painful, with the victim noticing that the bite area was sweating and the hair on his skin stood on end. He also reported that the pain radiated to his chest, and that his heart began to race. The victim was dizzy and nauseated, felt cold, began to drool and vomit, and exhibited priapism. He was later treated with anesthetics, tetanus prophylaxis and anti-venom, and recovered 36 hours after the bite.


title: Phoneutria

text: Another case occurred with a 52-year-old man, bitten by an adult female "P. nigriventer". Immediately after the bite he experienced severe local pain, blurred vision, profuse sweating and vomiting. From one to two hours after the bite he presented agitation and high blood pressure; at four hours after the heart rate was high at 150 beats per minute, mild tachypnea, cold extremities, profuse sweating, generalized tremors and priapism. He was treated with anesthetics, anti-venom and fluid replacement.


title: Phoneutria

text: In 2005, an English man was bitten twice by a spider identified as a "Phoneutria", which was hidden in a box of bananas. It was reported that his hand became swollen, he felt dizzy, and that when he got home he collapsed. He was taken to the hospital and received treatment, but his condition continued to deteriorate. He reported chest tightness, difficulty breathing, and both his blood pressure and heart rate were high. He was treated with increased saline to release toxins from the body, and was discharged the next day. He took almost a week to recover.


title: Phoneutria

text: A 70-year-old man, bitten by a spider with a legspan of 5 to 6 cm, he was cutting sugarcane at the residence of São Pedro de Alcantara, in the countryside, when a spider jumped on his shoulder, and came "walking" by the right arm to the back where it bit his hand (bled at the time), he felt intense pain at the time. The spider had several young in the abdomen. The patient evolved with agitation, anxiety, blood pressure 200x110 mmHg, heart rate with 62 beats per minute, respiratory rate 36 breathing movements per minute, respiratory distress, hyperemia, edema and radiating pain. After 50 minutes, the patient was admitted to the emergency department of the HU with blood pressure 150x90 (after captopril), mild dyspnea (patient pneumectomized by TU), with paresthesias and local condition as previously reported. He received anesthetic infiltration, dipyrone and two vials of serum, the right hand remained red and swollen, with improvement in anxiety symptoms and controlled blood pressure.


title: Phoneutria

text: Another case occurred in Minas Gerais, Brazil, where a man bitten by a "Phoneutria" developed numbness in his legs, redness, headache and loss of sense of time and space.


title: Phoneutria

text: Case that occurred in Itanhaém, São Paulo, 40-year-old man bitten in the foot, presented significant pain and generalized contractures, dying 6 hours after the accident.


title: Phoneutria

text: A 7-year-old child, bitten in the ear, presented convulsions, opisthotonos and progressive paralysis, dying 17 hours after the accident.


title: Phoneutria

text: Case that occurred in Franca, SP, a 10-year-old child bitten on the middle finger of the right hand, presented severe pain, trismus, tremors in the right arm and face, evolving to permanent contracture, respiratory paralysis, cyanosis and convulsions, dying in 30–40 minutes after the accident.


title: Phoneutria

text: Case occurred in São Sebastião, São Paulo, two brothers, 6 months and 18 months old, the children woke up during the night crying and screaming, dying soon after (time of death is not described). The father removed the sheets and found the spider, which was referred to the Butantan Institute, identified as a large female Phoneutria nigriventer.


title: Phoneutria

text: A 3-year-old girl, bitten on the third finger of her right hand, presented immediate local pain, periods of alternating prostration, cold sweating, chest and abdomen pains and 3 episodes of vomiting, was admitted to UNICAMP 3 hours after the accident, with the same symptoms. 5 vials of AV (Antivenom) and local anesthetic infiltration were administered, and there was improvement in symptoms, with decrease in sweating, but still agitated, 2–3 hours after AV, there was a picture of significant diarrhea (semi-liquid stools) evolving to 2nd degree dehydration. Parenteral hydration was started, 3h30 min post AV, her heart rate was 160 beats per minute, and respiratory rate was 72 at 4 hours post AV. Between 4h15min and 4h30min after AV, she had peripheral cyanosis, a heart rate of 150 beats per minute and dyspnea, and loss of peripheral venous access. Afterwards, there was disseminated pulmonary stortoration, and worsening of agitation, dyspnea and bradycardia, while being performed orotracheal intubation, manual ventilation, adrenaline and external cardiac massage, she later died.


title: Impression, Sunrise

text: Impression, Sunrise (French: "Impression, soleil levant") is an 1872 painting by Claude Monet first shown at what would become known as the "Exhibition of the Impressionists" in Paris in April, 1874. The painting is credited with inspiring the name of the Impressionist movement.


title: Impression, Sunrise

text: "Impression, Sunrise" depicts the port of Le Havre, Monet's hometown. It is now displayed at the Musée Marmottan Monet in Paris.


title: Impression, Sunrise

text: Monet visited his hometown of Le Havre in the Northwest of France in 1872 and proceeded to create a series of works depicting the port of Le Havre. The six painted canvases depict the port "during dawn, day, dusk, and dark and from varying viewpoints, some from the water itself and others from a hotel room looking down over the port".


title: Impression, Sunrise

text: "Impression, Sunrise" became the most famous in the series after being debuted in April 1874 in Paris at an exhibition by the group "Painters, Sculptors, Engravers etc. Inc." Among thirty participants, the exhibition was led by Monet, Edgar Degas, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley, and showed over two hundred works that were seen by about 4,000 people, including some rather unsympathetic critics.


title: Impression, Sunrise

text: In 1985 the painting was stolen from the Musée Marmottan Monet by Philippe Jamin and Youssef Khimoun. It was recovered and returned to the museum in 1990, and put back on display in 1991.


title: Impression, Sunrise

text: Monet claimed that he titled the painting "Impression, Sunrise" due to his hazy painting style in his depiction of the subject: "They asked me for a title for the catalogue, it couldn't really be taken for a view of Le Havre, and I said: 'Put "Impression".'" In addition to this explanation for the title of the work, art historian Paul Smith claims that Monet might have named the painting "Impression" to excuse his painting from accusations of being unfinished or lacking descriptive detail, but Monet received these criticisms regardless of the title.


title: Impression, Sunrise

text: While the title of the painting seemed to be chosen in haste for the catalogue, the term "Impressionism" was not new. It had been used for some time to describe the effect of paintings from the Barbizon school. Both associated with the school, Daubigny and Manet had been known to use the term to describe their own works.


title: Impression, Sunrise

text: In critic Louis Leroy's review of the 1874 exhibition, "The Exhibition of the Impressionists" for the newspaper "Le Charivari", he used "Impressionism" to describe the new style of work displayed, which he said was typified by Monet’s painting of the same name.


title: Impression, Sunrise

text: Before the 1860s and the debut of "Impression, Sunrise", the term "impressionism" was originally used to describe the effect of a natural scene on a painter, and the effect of a painting on the viewer. By the 1860s, "impression" was used by transference to describe a painting which relayed such an effect. In turn, impression came to describe the movement as a whole.


title: Impression, Sunrise

text: Initially used to describe and deprecate a movement, the term Impressionism "was immediately taken up by all parties" to describe the style, and Monet’s "Impression, Sunrise" is considered to encapsulate the start of the movement and its name.


title: Impression, Sunrise

text: "Impression, Sunrise" depicts the port of Le Havre at sunrise, the two small rowboats in the foreground and the red Sun being the focal elements. In the middle ground, more fishing boats are included, while in the background on the left side of the painting are clipper ships with tall masts. Behind them are other misty shapes that "are not trees but smokestacks of pack boats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the sky." In order to show these features of industry, Monet eliminated existing houses on the left side of the jetty, leaving the background unobscured.


title: Impression, Sunrise

text: Following the defeat of France in the Franco-Prussian War of 1870–71, the regeneration of France was exemplified in the thriving port of Le Havre. Art historian Paul Tucker suggests that the contrast of elements like the steamboats and cranes in the background to the fishermen in the foreground represent these political implications: "Monet may have seen this painting of a highly commercial site as an answer to the postwar calls for patriotic action and an art that could lead. For while it is a poem of light and atmosphere, the painting can also be seen as an ode to the power and beauty of a revitalized France."


title: Impression, Sunrise

text: The representation of Le Havre, hometown of Monet and a center of industry and commerce, celebrates the "renewed strength and beauty of the country... Monet’s ultimate utopian statement." Art demonstrating France’s revitalization, Monet’s depiction of Le Havre’s sunrise mirrors the renewal of France.


title: Impression, Sunrise

text: The hazy scene of "Impression, Sunrise" strayed from traditional landscape painting and classic, idealized beauty. Paul Smith suggested that with this style, Monet meant to express "other beliefs about artistic quality which might be tied to the ideologies being consolidated by the emergent bourgeoisie from which he came." Loose brush strokes meant to suggest the scene rather than to mimetically represent it demonstrate the emergent Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality. Considering this, Smith claims that ""Impression, Sunrise" was about Monet’s search for spontaneous expression, but was guided by definite and historically specific ideas about what spontaneous expression was."


title: Impression, Sunrise

text: The group of studies made from Monet’s hotel room was made from canvas with a base layer of gray in different tones. The layered effect provides depth in spite of imprecise details, creating a rich and tangible environment that seems like Le Havre, though not an exact likeness. Gordon and Forge discuss boundaries and the use of color in "Impression, Sunrise", claiming that


title: Impression, Sunrise

text: sky and water in "Impression, Sunrise" are hardly distinguishable, boundaries between objects are not obvious, and the paint "becomes the place" and effect, the colors of the paint melding together in "its glooming, opalescent oneness, its foggy blankness, its featureless, expectant emptiness that resembles, for the painter, an empty, uninflected canvas." They comment that the accents of blue-gray and orange cutting through the haze "are like last-minute revelations that had to wait, not only for the particular glimmer of orange to burn its way through the fog and find its reflective path onto the water and Monet’s eye but for the canvas itself, pregnant with the foggy space outside, to be ready to receive it."


title: Impression, Sunrise

text: Although it may seem that the Sun is the brightest spot on the canvas, it is in fact, when measured with a photometer, the same brightness (or luminance) as the sky. Dr. Margaret Livingstone, a professor of neurobiology at Harvard University, said "If you make a black and white copy of "Impression: Sunrise", the Sun disappears [almost] entirely."


title: Impression, Sunrise

text: Livingstone said that this caused the painting to have a very realistic quality, as the older part of the visual cortex in the brain — shared with the majority of other mammals — registers only luminance and not colour, so that the Sun in the painting would be invisible to it, while it is just the newer part of the visual cortex — only found in humans and other primates — which perceives colour.


title: Impression, Sunrise

text: Other researchers have found that these same luminance properties can cause the Sun to fade from view and that changes in microsaccades underlie this effect.


title: Impression, Sunrise

text: Most critics did not think "Impression, Sunrise" was one of the most notable pieces; it was briefly discussed only five times in all the reviews of the exhibition. However, the reviews of the exhibition and of Monet's painting both provide insight into the development of the movement and Monet's work and development as an artist.


title: Impression, Sunrise

text: Philippe Burty for "La République Française" wrote about the opening of the show, complimenting the ambiance of the space and the paintings working together: "The walls of the rooms, covered in brownish red woolen fabric, are extremely well suited to paintings. The daylight enters the rooms from the sides, as it does in apartments."


title: Impression, Sunrise

text: However, this idyllic perspective of the exhibition was not the view of all critics. Louis Leroy, for "Le Charivari", is often quoted in his review on Monet's work. His article "The Impressionist Exhibition" is written as a dialogue from the imaginary perspective of an old-fashioned painter, shocked at the works of Monet and his associates:


title: Impression, Sunrise

text: "'Ah! This is it, this is it!: he cried in front of n. 98. 'This one is Papa Vincent's favorite! What is this a painting of? Look in the catalogue.'


title: Impression, Sunrise

text: 'Impression-- I knew it. I was just saying to myself, if I'm impressed, there must be an impression in there… And what freedom, what ease in the brushwork! Wallpaper in its embryonic state is more finished than this seascape!"


title: Impression, Sunrise

text: Leroy's review is a covert backhand at the progressiveness of "Impression, Sunrise", and is often attributed with the using the term impressionism for the first time.


title: Impression, Sunrise

text: Jules Castagnary for "Le Siècle" wrote that the group of painters could be described by no other word beside the new term "impressionists", since they rendered the "sensation evoked by the landscape" rather than the landscape. He claimed that "The very word has entered their language: not landscape, but impression, in the title given in the catalog for M. Monet's Sunrise. From this point of view, they have left reality behind for a realm of pure idealism", typified by Monet's "Impression, Sunrise".


title: Impression, Sunrise

text: Théodore Duret wrote that rendering idealized impressions instead of landscapes is what epitomises Monet's work and the impressionist movement. Considering "Impression, Sunrise" and Monet's work following the 1874 exhibition, Duret wrote "it is certainly the peculiar qualities of Claude Monet's paintings which first suggested [the term impressionism]". Claiming that "Monet is the Impressionist painter par excellence", Duret argued that Monet inspired a new way of seeing and painting, that Monet was "no longer painting merely the immobile and permanent aspect of a landscape, but also the fleeting appearances which the accidents of atmosphere present to him, Monet transmits a singularly lively and striking sensation of the observed scene."


title: Impression, Sunrise

text: In an interview with Maurice Guillemot for "La Revue Illustrée", Monet reflected on his handling of landscape like the port of Le Havre in consideration of the movement and the 1874 exhibition: "A landscape is only an impression, instantaneous, hence the label they’ve given us-- all because of me, for that matter. I’d submitted something done out of my window at Le Havre, sunlight in the mist with a few masts in the foreground jutting up from the ships below. They wanted a title for the catalog; it couldn’t really pass as a view of Le Havre, so I answered: "Put down "Impression"." Out of that they got impressionism, and the jokes proliferated..."


title: Impression, Sunrise

text: Following 1874 and the rise of the Impressionist movement, Monet recalled "Impression, Sunrise" by naming other works with similar titles. The subtitles recalled "Impression, Sunrise" in style and influence, though their subjects varied. Examples of similarly titles works are "Effet de brouillard, impression" in 1879, "L’Impression" in 1883, "Garden at Bordighera, Impression of Morning" in 1884, "Marine (impression)" in 1887, and "Fumées dans le brouillard, impression" in 1904. These works then seemed as a continuation of his Le Havre scene, "one of the sequence of canvases in which he was seeking to capture the most fleeting natural effects, as a display of his painterly virtuosity." Evoking the name of "Impression, Sunrise", but also providing stylistic connections, the later paintings are similarly "quite summary and economical in handling, and depict particularly hazy or misty effects" that is characteristic of Monet’s impressionism in particular.


title: Impression, Sunrise

text: While the movement and the painting initially garnered controversy, Monet’s "Impression, Sunrise" gave rise to the name and recognition of the Impressionist movement, arguably exemplifying more than any other work or artist the Impressionist movement as a whole in style, subject, and influence.


title: UAZ-469

text: The UAZ-469 is an off-road military light utility vehicle manufactured by UAZ. It was used by Soviet and other Warsaw Pact armed forces, as well as paramilitary units in Eastern Bloc countries. In the Soviet Union, it also saw widespread service in state organizations that needed a robust and durable off-road vehicle. Standard military versions included seating for seven personnel.


title: UAZ-469

text: Developed from the GAZ-69, UAZ-471 and UAZ-460, the UAZ-469 was introduced in 1971 to replace the GAZ-69. It is powered by the same UMZ-452MI inline-four engine as the UAZ-452 and is able to run on gasoline with an octane rating as low as 72 (although 76 was preferred). The UAZ-469 presented two great advantages: it was able to drive in virtually any terrain and it was very easy to repair. The vehicle was originally not available for purchase by the public, but many were sold as surplus to private owners.


title: UAZ-469

text: Modifications include a basic UAZ-469B with ground clearance of , and a specialized military UAZ-469, with ground clearance increased to . After slight modernisation in 1985, due to new industry designation standards, they were renamed: the UAZ-469 became the UAZ-3151, while the UAZ-469B became the UAZ-31512. Manufacture of the UAZ-31512 for the Russian Army continued until 2011, while manufacture for the civilian market was discontinued due to new emission standards. However, the currently manufactured UAZ Hunter is an updated version of the old UAZ-469B. The Hunter was originally sold in Germany and some Asian countries as the "UAZ Tigr" (Tiger), until General Motors complained that the name was too similar to the Opel Tigra, and in Germany, it was renamed "Baijah Taigah".


title: UAZ-469

text: The UAZ-469 was exported to eighty countries, and between 1.65 to 2 million units of the vehicle and its variants were produced.


title: UAZ-469

text: UAZ-469B – a "civilian" version of the UAZ-469. In this version, the ground clearance is 220 mm and the drive axles use a single-stage main gear without the final drive. The UAZ-469B was available with a contact or contactless (on later models) electronic ignition system. Its PTO shafts are slightly longer than the shafts of the UAZ-469 vehicle. The cabin is open and came with a detachable canvas roof; a hard-top roof made of metal or fiberglass could be purchased as an accessory. The 2.4-litre engine is paired with a four-speed transmission.


title: UAZ-469

text: In Mexico, a special package called Vallarta Kit, named after the beach resort of Puerto Vallarta, was released featuring a winch, steering assembly and gearbox reinforcement, snorkel, suspension kit and LED headlights, among other extras.


title: UAZ-469

text: A police patrol car version was available, based on the UAZ-31512-UMM with an insulated five-door metal body and optional special equipment. The UAZ-469B formed the basis of the TREKOL-39041 amphibious vehicle.


title: Video game crash of 1983

text: The video game crash of 1983 (known as the Atari shock in Japan) was a large-scale recession in the video game industry that occurred from 1983 to 1985, primarily in the United States. The crash was attributed to several factors, including market saturation in the number of video game consoles and available games, many of which were of poor quality, as well as waning interest in console games in favor of personal computers. Home video game revenues peaked at around $3.2 billion in 1983, then fell to around $100 million by 1985 (a drop of almost 97 percent). The crash abruptly ended what is retrospectively considered the second generation of console video gaming in North America. To a lesser extent, the arcade game market also weakened as the golden age of arcade video games came to an end.


title: Video game crash of 1983

text: Lasting about two years, the crash shook a then-booming video game industry and led to the bankruptcy of several companies producing home computers and video game consoles. Analysts of the time expressed doubts about the long-term viability of video game consoles and software.


title: Video game crash of 1983

text: The North American video game console industry recovered a few years later, mostly due to the widespread success of Nintendo's Western branding for its Famicom console, the Nintendo Entertainment System (NES), released in 1985. The NES was designed to avoid the missteps that caused the 1983 crash and the stigma associated with video games at that time.


title: Video game crash of 1983

text: The Atari Video Computer System (renamed the Atari 2600 in late 1982) was not the first home system with swappable game cartridges, but by the early 1980s it was the most popular second-generation console by a wide margin. Launched in 1977 just ahead of the collapse of the market for home "Pong" console clones, the Atari VCS experienced modest sales for its first few years. In 1980, Atari's licensed version of "Space Invaders" from Taito became the console's killer application; sales of the VCS quadrupled, and the game was the first title to sell more than a million copies. Spurred by the success of the Atari VCS, other consoles were introduced, both from Atari and other companies: Odyssey², Intellivision, ColecoVision, Atari 5200, and Vectrex. Notably, Coleco sold an add-on allowing Atari VCS games to be played on its ColecoVision, as well as bundling the console with a licensed home version of Nintendo's arcade hit "Donkey Kong". In 1982, the ColecoVision held roughly 17% of the hardware market, compared to Atari VCS's 58%. This was the first real threat to Atari's dominance of the home console market.


title: Video game crash of 1983

text: Each new console had its own library of games produced exclusively by the console maker, while the Atari VCS also had a large selection of titles produced by third-party developers. In 1982, analysts marked trends of saturation, mentioning that the amount of new software coming in would only allow a few big hits, that retailers had devoted too much floor space to systems, and that price drops for home computers could result in an industry shakeup.


title: Video game crash of 1983

text: In addition, the rapid growth of the videogame industry led to an increased demand, which the manufacturers over-projected. In 1983, an analyst for Goldman Sachs stated the demand for video games was up 100% from the previous, but the manufacturing output had increased by 175%, creating a significant surplus. Atari CEO Raymond Kassar recognized in 1982 that the industry's saturation point was imminent. However, Kassar expected this to occur when about half of American households had a video game console. Unfortunately, the crash occurred when about 15 million machines had been sold, which soundly under-shot Kassar's estimate.


title: Video game crash of 1983

text: Prior to 1979, there were no third-party developers, with console manufacturers like Atari publishing all the games for their respective platforms. This changed with the formation of Activision in 1979. Activision was founded by four Atari programmers who left the company because they felt that Atari's developers should receive the same recognition and accolades (specifically in the form of sales-based royalties and public-facing credits) as the actors, directors, and musicians working for other subsidiaries of Warner Communications (Atari's parent company at the time). Already being quite familiar with the Atari VCS, the four programmers developed their own games and cartridge manufacturing processes. Atari quickly sued to block sales of Activision's products, but failed to secure a restraining order, and ultimately settled the case in 1982. While the settlement stipulated that Activision must pay royalties to Atari, this case ultimately legitimized the viability of third-party game developers. Activision's games were as popular as Atari's, with "Pitfall!" (released in 1982) selling over 4 million units.


title: Video game crash of 1983

text: Prior to 1982, Activision was one of only a handful of third parties publishing games for the Atari VCS. By 1982, Activision's success emboldened numerous other competitors to penetrate the market. However, Activision's founder David Crane observed that several of these companies were supported by venture capitalists attempting to emulate the success of Activision. Without the experience and skill of Activision's team, these inexperienced competitors mostly created games of poor quality. Crane notably described these as "the worst games you can imagine". While Activision's success could be attributed to the team's existing familiarity with the Atari VCS, other publishers had no such advantage. They largely relied on industrial espionage (poaching each other's employees, reverse-engineering each other's products, etc.) in their attempts to gain market share. In fact, even Atari themselves engaged in such practices, hiring several programmers from Mattel's Intellivision development studio, prompting a lawsuit that included charges of industrial espionage.


title: Video game crash of 1983

text: The rapid growth of the third-party game industry was easily illustrated by the number of vendors present at the semi-annual Consumer Electronics Show (CES). According to Crane, the number of third-party developers jumped from 3 to 30 between two consecutive events. At the Summer 1982 CES, there were 17 companies, including MCA Inc., and Fox Video Games announcing a combined 90 new Atari games. By 1983, an estimated 100 companies were attempting to leverage the CES into a foothold in the market. "AtariAge" documented 158 different vendors that had developed for the Atari VCS. In June 1982, the Atari games on the market numbered just 100. By December, that number grew to over 400. Experts predicted a glut in 1983, with only 10% of games producing 75% of sales.


title: Video game crash of 1983

text: "BYTE" stated in December that "in 1982 few games broke new ground in either design or format ... If the public really likes an idea, it is milked for all its worth, and numerous clones of a different color soon crowd the shelves. That is, until the public stops buying or something better comes along. Companies who believe that microcomputer games are the hula hoop of the 1980s only want to play Quick Profit." Bill Kunkel said in January 1983 that companies had "licensed everything that moves, walks, crawls, or tunnels beneath the earth. You have to wonder how tenuous the connection will be between the game and the movie "Marathon Man". What are you going to do, present a video game root canal?" By September 1983 the "Phoenix" stated that 2600 cartridges were "no longer a growth industry". Activision, Atari, and Mattel all had experienced programmers, but many of the new companies rushing to join the market did not have the expertise or talent to create quality games. Titles such as the "Kaboom!"-like "Lost Luggage", rock band tie-in "Journey Escape", and plate-spinning game "Dishaster", were examples of games made in the hopes of taking advantage of the video-game boom, but later proved unsuccessful with retailers and potential customers.


title: Video game crash of 1983

text: Besides just flooding the market with far too many ideas, there was also a limited competitive space. According to Activision's Jim Levy, they had projected that the total cartridge market in 1982 would be around 60 million, anticipating Activision would be able to secure between 12% and 15% of that market for their production numbers. However, with at least 50 different companies in the new marketspace, and each having produced between one and two million cartridges, along with Atari's own estimated 60 million cartridges in 1982, there was over 200% production of the actual demand for cartridges in 1982, which contributed to the stockpiling of unsold inventory during the crash.


title: Video game crash of 1983

text: Prior to 1982, Atari was considered the dominant company in the home video game industry, but as described above, new players in the hardware market and the loss of publishing control caused the company to slip from its dominant position. During 1982, Atari took several missteps in trying to regain its dominance that caused the market and consumers to lose confidence in the company and in turn the video game industry as a whole.


title: Video game crash of 1983

text: One factor was around certain games Atari chose to publish, as by this point, with the company owned by Warner Communication, it was more focused on business opportunities rather than innovation. Many of its executives were MBAs, and looked for any business opportunity that would give them an edge over other third-party game publishers. Coleco's deal with Nintendo for "Donkey Kong" was a major threat to Atari. Atari had had past success with its own licenses of arcade hits ported to the Atari VCS, but also had begun to look for other lucrative licensing opportunities that they could differentiate themselves from other companies. Two games released in 1982, often cited retrospectively as major contributors to the crash, contributed to weakening Atari's consumer confidence: "Pac-Man", and "E.T. the Extra-Terrestrial". The Atari VCS port of the arcade hit "Pac-Man" was released in March 1982 and was critically panned, with its graphics cited as particularly poor. While some vendors canceled orders, most of the large retailers continued to sell the game, and Atari sold seven million units in 1982. Still, the quality issues hurt the Atari brand and led some consumers to ask for refunds. "E.T. the Extra-Terrestrial" was developed by Howard Scott Warshaw in only six weeks under rush orders at Atari's direction to meet the sales for the 1982 Christmas season after Atari had secured the rights to the film for about . "E.T." was a top-selling video game in late 1982 and early 1983 according to "Billboard", selling 2.6 million copies by 1983, but also was met with lackluster reviews across the industry, with "primitive" graphics and "dull" gameplay. In 1983 returns outstripped sales by 660,000 units.


title: Video game crash of 1983

text: The combined impact of the underperforming sales and poor quality of "Pac-Man" and "E.T." reflected on Atari as it caused consumers to become wary of the company's future products, leading to a slowdown in sales entering 1983. Atari attempted to improve future arcade and licensed game ports to draw back consumers, such as the "Ms. Pac-Man" port which was more positively received by critics. However, they were unable to capture similar sales numbers as prior to 1982.


title: Video game crash of 1983

text: Inexpensive home computers had been first introduced in 1977 and, by 1979, Atari unveiled the Atari 400 and 800 computers, built around a chipset originally meant for use in a game console, and which retailed for the same price as their respective names. In 1981, IBM introduced the first IBM Personal Computer with a $1,565 base price (), while Sinclair Research introduced its low-end ZX81 microcomputer for £70 (). By 1982, new desktop computer designs were commonly providing better color graphics and sound than game consoles and personal computer sales were booming. The TI-99/4A and the Atari 400 were both at $349 (), the Tandy Color Computer sold at $379 (), and Commodore International had just reduced the price of the VIC-20 to $199 () and the C64 to $499 ().


title: Video game crash of 1983

text: Because computers generally had more memory and faster processors than a console, they permitted more sophisticated games. A 1984 compendium of reviews of Atari 8-bit software used 198 pages for games compared to 167 for all other software types. Home computers could also be used for tasks such as word processing and home accounting. Games were easier to distribute, since they could be sold on floppy disks or cassette tapes instead of ROM cartridges. This opened the field to a cottage industry of third-party software developers. Writeable storage media allowed players to save games in progress, a useful feature for increasingly complex games which was not available on the consoles of the era.


title: Video game crash of 1983

text: In 1982, a price war that began between Commodore and Texas Instruments led to home computers becoming as inexpensive as video-game consoles; after Commodore cut the retail price of the C64 to $300 in June 1983, some stores began selling it for as little as $199. Dan Gutman, founder in 1982 of "Video Games Player" magazine in an article in 1987, recalled in 1983 that "People asked themselves, 'Why should I buy a video game system when I can buy a computer that will play games and do so much more?'" "The Boston Phoenix" stated in September 1983 about the cancellation of the Intellivision III, "Who was going to pay $200-plus for a machine that could only play games?" Commodore explicitly targeted video game players. Spokesman William Shatner asked in VIC-20 commercials "Why buy just a video game from Atari or Intellivision?", stating that "unlike games, it has a real computer keyboard" yet "plays great games too". Commodore's ownership of chip fabricator MOS Technology allowed manufacture of integrated circuits in-house, so the VIC-20 and C64 sold for much lower prices than competing home computers. In addition, both Commodore computers were designed to utilize the ubiquitous Atari controllers so they could tap into the existing controller market.


title: Video game crash of 1983

text: "I've been in retailing 30 years and I have never seen any category of goods get on a self-destruct pattern like this", a Service Merchandise executive told "The New York Times" in June 1983. The price war was so severe that in September Coleco CEO Arnold Greenberg welcomed rumors of an IBM 'Peanut' home computer because although IBM was a competitor, it "is a company that knows how to make money". "I look back a year or two in the videogame field, or the home-computer field", Greenberg added, "how much better everyone was, when most people were making money, rather than very few". Companies reduced production in the middle of the year because of weak demand even as prices remained low, causing shortages as sales suddenly rose during the Christmas season; only the Commodore 64 was widely available, with an estimated more than 500,000 computers sold during Christmas. The 99/4A was such a disaster for TI, that the company's stock immediately rose by 25% after the company discontinued it and exited the home-computer market in late 1983. JCPenney announced in December 1983 that it would soon no longer sell home computers, because of the combination of low supply and low prices.


title: Video game crash of 1983

text: By that year, Gutman wrote, "Video games were officially dead and computers were hot". He renamed his magazine "Computer Games" in October 1983, but "I noticed that the word "games" became a dirty word in the press. We started replacing it with "simulations" as often as possible". Soon "The computer slump began ... Suddenly, everyone was saying that the home computer was a fad, just another hula hoop". "Computer Games" published its last issue in late 1984. In 1988, "Computer Gaming World" founder Russell Sipe noted that "the arcade game crash of 1984 took down the majority of the computer game magazines with it." He stated that, by "the winter of 1984, only a few computer game magazines remained," and by the summer of 1985, "Computer Gaming World" "was the only 4-color computer game magazine left."


title: Video game crash of 1983

text: The release of so many new games in 1982 flooded the market. Most stores had insufficient space to carry new games and consoles. As stores tried to return the surplus games to the new publishers, the publishers had neither new products nor cash to issue refunds to the retailers. Many publishers, including Games by Apollo and U.S. Games, quickly folded. Unable to return the unsold games to defunct publishers, stores marked down the titles and placed them in discount bins and sale tables. Recently released games which initially sold for US$35 (equivalent to $99 in 2021) were in bins for $5 ($14 in 2021).


title: Video game crash of 1983

text: The presence of third-party sales drew the market share that the console manufacturers had. Atari's share of the cartridge-game market fell from 75% in 1981 to less than 40% in 1982, which negatively affected their finances. The bargain sales of poor-quality titles further drew sales away from the more successful third-party companies like Activision due to poorly informed consumers being drawn by price to purchase the bargain titles rather than quality. By June 1983, the market for the more expensive games had shrunk dramatically and was replaced by a new market of rushed-to-market, low-budget games. Crane said that "those awful games flooded the market at huge discounts, and ruined the video game business".