title: Military Police Corps (United States)

text: The Military Police Corps traces its lineage and history back to the American Revolution. General George Washington requested that the staff position of Provost Marshal be created to deal with disciplinary issues. In January 1776, William Maroney was appointed as the first Provost Marshal of the Continental Army. The Provost Marshals relied on soldiers temporarily drawn from other units, and had difficulty enforcing discipline. On 20 May 1778, Congress established the Provost Corps, which General Washington referred to as the "Marechaussee." This name was from the French: ""maréchaussée"," from the Old French ""mareschaucie"," meaning "the marshalcy." Captain Bartholomew von Heer, a German-speaking officer from Pennsylvania, was appointed as the first commander of the Marechaussee on 1 June 1778. Under the new organization, the Provost Marshal was responsible for soldiers under custody and for punishments, while the Marechaussee was tasked with the enforcement of order within the Continental Army. The Marechaussee Corps would be formed exclusively as a police organization, and was organized and equipped as light dragoons, utilizing their speed to aid in troop movements and moving prisoners from the battlefield. The Marechaussee protected the Army's rear and flanks during troop movements, searched for stragglers, guarded river crossings, and engaged in combat when needed, as in the Battle of Springfield. The Provost Corps was disbanded in November 1783.


title: Military Police Corps (United States)

text: In 1863, the Office of the Provost Marshal General was established and oversaw the Veteran Reserve Corps (VRC). In the US Civil War, the VRC maintained law and order at garrison areas, while other provost guard units served on the front lines. After the war, the Office of the Provost Marshal General was discontinued as the Union Army disbanded.


title: Military Police Corps (United States)

text: During the Moro Rebellion following the Spanish–American War, the United States founded the Philippine Constabulary. Training began in 1902, and Brigadier General Harry Hill Bandholtz was appointed as chief of the Constabulary in 1907.


title: Military Police Corps (United States)

text: The complexity of warfare during World War I required a corps of specially-trained soldiers to handle massive numbers of prisoners of war and control the movement of troops and supplies in the zones of operation. The Military Police Training Department was established 9 September 1918 at Caserne Changarnier in Autun, France. Following the war, Brigadier General Harry Hill Bandholtz, who had served as Provost Marshal of the American Expeditionary Forces, proposed the establishment of a permanent Military Police Corps. Although Congress failed to act upon this recommendation, it allowed for the permanent organization of Army military police units in the National Defense Act Amendment of 1920.


title: Military Police Corps (United States)

text: In 1917, CPL Charles W. Baltimore, a black MP soldier stationed at Camp Logan in Texas, inquired into the beating of a black soldier by Houston police and was himself beaten and arrested afterwards. The racial tension which followed led to the Houston Riot, which killed four soldiers and sixteen civilians, and 60 black soldiers were executed or sentenced to life in prison.


title: Military Police Corps (United States)

text: During World War II, Military Police schools were established at Camp Gordon, Fort Benjamin Harrison, with the Military Police Replacement Center established at Fort Custer. MPs also trained for port security at Fort McHenry. Military Police soldiers moved traffic along the Burma Road, supported amphibious operations on Normandy beachheads, and managed enemy prisoners of war from Italy to the South Pacific.


title: Military Police Corps (United States)

text: When the Red Ball Express (a supply route stemming from Normandy to the front lines) was established in August 1944, MP performed route reconnaissance and security to keep the trucks and supplies flowing. This was the 793rd Military Police Battalion's (disbanded 2014) first mission in theater and commemorated this in their coat of arms and unit insignia; which consists of a field of green, a yellow road, and two red disks symbolizing the famed route.


title: Military Police Corps (United States)

text: Thanks to the actions of First lieutenant John Hyde and his detachment of MP, The Corps was heralded for gallantry at Remagen, as a fighting force in numerous combat actions and as peacekeepers at war's end. In 1944, the Army again saw the need for a unit to investigate crime involving soldiers in Europe. The United States Army Criminal Investigation Division was established as a branch of the Provost Marshal General's Office and has continued investigative activity since.


title: Military Police Corps (United States)

text: After the war ended, cavalry units in Germany were utilized to form the United States Constabulary, a police-like patrol organization. It was disbanded in the 1950s.


title: Military Police Corps (United States)

text: In 1949, the newly formed Defense Department was in the process of reorganizing the Army and plans were developed to disband the Military Police Corps. But when Congress passed the Army Reorganization Act in May 1950, the Corps survived, remaining a separate branch of the Army.


title: Military Police Corps (United States)

text: When North Korea invaded South Korea in June 1950, there were some MP units stationed in Korea. One of those was the 55th Military Police Company, which had been assigned to Camp Ascom in December 1948. Most of those military police units that arrived during the early months of the war came from Japan, where they were serving as occupation forces following World War II. While the majority of MP companies came from outside Korea, most of the battalions of the Korean War were formed on the peninsula


title: Military Police Corps (United States)

text: During the Korean War, Military Police kept supply routes open. Subsequently, Military Police monitored the exchange of prisoners and patrolled the demilitarized zone. Military Police, adapting to a different style of warfare in Vietnam, earned status as a combat support arm, partially as a result of combat success during the Tet Offensive.


title: Military Police Corps (United States)

text: During Operation Just Cause, Operation Desert Shield and Storm, the Military Police provided area security, conducted battlefield circulation control, and exercised custody over thousands of prisoners. Since 1991, the Military Police have assisted with interventions in Somalia, Haiti and Bosnia. Military Police maintained order in war-torn Kosovo, as well as keeping the peace in Afghanistan. During the 2003 invasion of Iraq, MPs were used extensively to maintain control over the large numbers of detainees being held by coalition forces, as well as helping to conduct raids, convoy security and regular patrols. MPs were the main force responsible in rebuilding and training the Iraqi Police. Ever since the invasion, military police have been one of the most heavily engaged military occupational specialty in the Iraqi theater. In the United States, MPs often provided disaster relief and internal security, while still fulfilling their fundamental function of maintaining discipline and security within the Army.


title: Military Police Corps (United States)

text: Women in the Women's Army Auxiliary Corps were assigned Military Police duties as early as 1941. By 1943, soldiers in the Women's Army Corps were trained as Military Police in order to police female soldiers, although they had jurisdiction over all soldiers, including males. Women have since served in the Military Police Corps, which has given the regiment some distinction. (In the 1953 Film "Off Limits", Bob Hope plays a character who joins the Military Police so he can train with women.) Females were officially accepted into the Military Police Corps in 1975. As the Women's Auxiliary Corps was disbanded the Military Police stood up to accept and train women alongside their male counterparts. Female MPs have crossed many gender barriers in the United States Armed Forces.


title: Military Police Corps (United States)

text: In 2008, 25% of the MP Corps were women. The mixed-gender MP Corps is valued in the wars in Iraq and Afghanistan, where cultural taboos may prevent male soldiers from interacting with women.


title: Military Police Corps (United States)

text: In the U.S. Army, a simple patch with the legend "MP" worn on the left arm distinguishes a military-police soldier wearing the Army Combat Uniform (ACU). This patch is attached to the uniform by a hook and loop fastener (i.e. Velcro). For both garrison law-enforcement duty as well as for tactical field work, the patch is a subdued brown with black lettering.


title: Military Police Corps (United States)

text: U.S. military police used to be distinguished by a brassard worn on the left arm when on duty in previous uniform versions such as the Battle Dress Uniform. The brassard was black with white lettering for garrison law-enforcement duty and could include extra designations such as "Customs MP" or "K-9 MP" (for dog handlers). Tactical brassards were green with black lettering for temperate climates and sand with light brown lettering for desert duty.


title: Military Police Corps (United States)

text: When wearing a Class A or B uniform, they are authorized to wear combat boots instead of regulation low-cut shoes. However, like Airborne soldiers who may only wear the boots while on jump status, MPs may only wear these boots with Class A or B uniforms when performing law enforcement duties.


title: Military Police Corps (United States)

text: During World War II, the emblems used were a wide white band around the helmet or a white helmet liner or a white peaked cap, a white webbing Sam Browne belt, white gloves, and white gaiters, atop the standard olive drab uniform. From this clothing, the nickname they were given by the British civilians at the time was "snowdrops." An MP armband was also worn on the left arm, usually black or dark blue with white letters.


title: Military Police Corps (United States)

text: The standard personal weapons of the United States Army military police, for many years, was the 9mm Beretta M9. In 2019, the US Army announced that the SIG Sauer M17 and M18 would become the main handgun for MPs. Also used are the 5.56 M4 carbine, the 40mm M320 Grenade Launcher Module, the M2 .50cal Machine Gun, the M249 Squad Automatic Weapon (SAW) or M240B, and the Mossberg 500 shotgun or M26 Modular Accessory Shotgun System. MP team leaders are typically assigned an M4 with an M320 attached, drivers are assigned an M249 and gunners are assigned an M4 in addition to any other crew-served weapons they are responsible for. Crew-served or vehicle-based weapons used by MP fireteams include the M2 Browning machine gun, M240B, and Mk 19 grenade launcher. MP teams often carry one or two AT4 anti-tank weapons, as well.


title: Military Police Corps (United States)

text: Military Police also utilize the use of PEDD (Patrol Explosive Detection Dogs) and SSD (Specialized Search Dogs) K9 Military Working Dogs.


title: Military Police Corps (United States)

text: Military Police are considered maneuver support, and MP units may be organized at many different levels, based on the size of the unit it is meant to support. An Army Corps may contain one MP brigade, which is responsible for training and supplying subordinate Military Police units. When MP units are deployed, their parent unit may maintain administrative control (ADCON) while relinquishing tactical control (TACON) to the deployed unit being supported.


title: Military Police Corps (United States)

text: Investigations are conducted by Military Police Investigators or Special Agents with the United States Army Criminal Investigation Division (USACID), commonly referred to as CID. The Military Police Investigations (MPI) office is responsible for the investigation of all misdemeanor crimes committed on a military installation. MPI personnel are MPs who attend the Military Police Investigations course at the Military Police School, located at Fort Leonard Wood, Missouri. Army CID is the Department of the Army’s premier criminal investigative organization, free of actual or perceived undue command influence, reporting directly to the Under Secretary of the Army. CID Special Agents investigate felony crimes, regardless of incident location, which have an Army nexus.


title: Suresh Krissna

text: Suresh Krissna (born 25 June 1959) is an Indian film director who has directed Tamil, Telugu, Malayalam, Kannada, Hindi Language films. His first independent film as a director was "Sathya" (1988), with Kamal Haasan. He is well known for having directed Rajinikanth in four films which include, "Annamalai" (1992), "Veera" (1994), "Baashha" (1995) and "Baba" (2002). In the 1990s, he has also directed other major superstars including Mohanlal, Chiranjeevi and Salman Khan.


title: Suresh Krissna

text: Suresh was born to R. Krishna and K. Sharada in Bombay. He has two brothers, Sreeram and Satheesh, and one sister, actress Shanthi Krishna.


title: Suresh Krissna

text: He spent his early career in Mumbai. After completing his graduation in economics he joined the Mumbai office of L. V. Prasad for accounts management. Later he became an executive assistant to L. V. Prasad and also took care of the Prasad Productions Mumbai office. When L. V. Prasad started production of "Ek Duuje Ke Liye" (1981), directed by K. Balachander, he assisted Prasad Productions on location. After completion of the film he went on to work for K. Balachander first assisting in "Thaneer Thaneer" (1981). Later he was elevated to associate director status in "Achamillai Achamillai" (1984).


title: Suresh Krissna

text: Suresh first Independent directorial film was "Sathya" (1988) starring Kamal Haasan which was a remake of the Hindi movie "Arjun" starring Sunny Deol. In 1989, he received the Nandi Award for Best Director for "Prema". Suresh Krissna became famous after he worked with Rajinikanth in the 1992 movie "Annaamalai". The movie became successful at the box office with a 175-day run. In 1995, Rajnikanth and Suresh Krissna paired up once again for the movie "Baashha", which received an appraisal and it broke "Annaamalai"s record at the Box Office. The movie is considered as one of the breaking points in Rajnikanth’s career. In 2001, Suresh Krissna directed a Telugu movie, "Daddy" in which he worked with Chiranjeevi. In 2002, he began working on a film titled "Vamana" featuring Ajith Kumar, Reema Sen and Sneha. Despite the beginning production, the film was later stalled.


title: Suresh Krissna

text: Suresh Krissna has directed movies like "Baba" (2002), "Rocky – The Rebel" (2006), "Ilaignan" (2011) and "Katari Veera Surasundarangi" (2012). In 2012, Suresh Krissna published a book called ‘My Days with "Baashha"’, in which the director has penned down his memories of making super hit films with Rajnikanth. Rajnikanth in an interview said that directors Suresh Krissna and Mani Ratnam are the ones who made him a Superstar.


title: Suresh Krissna

text: He has directed films in many languages starring leading heroes like Rajinikanth, Kamal Haasan, Chiranjeevi, Venkatesh, Nagarjuna, Mohanlal, Vishnuvardhan and Salman Khan. Suresh Krissna, who has directed about 40 films so far, has also directed series on leading television channels like Sun TV and Vijay TV. He directed the "Mahabharatham" (2013) serial on Sun TV. Suresh Krissna is getting into the web series space with "In the Name of God" (2021), to be streamed in Telugu, which he has produced.


title: Development of Grand Theft Auto V

text: A team of approximately 1,000 people developed "Grand Theft Auto V" over several years. Rockstar Games released the action-adventure game in September 2013 for PlayStation 3 and Xbox 360, in November 2014 for PlayStation 4 and Xbox One, in April 2015 for Microsoft Windows, and in March 2022 for PlayStation 5 and Xbox Series X/S. The first main "Grand Theft Auto" series entry since "Grand Theft Auto IV", its development was led by Rockstar North's core 360-person team, who collaborated with several other international Rockstar studios. The team considered the game a spiritual successor to many of their previous projects like "Red Dead Redemption" and "Max Payne 3". After its unexpected announcement in 2011, the game was fervently promoted with press showings, cinematic trailers, viral marketing strategies and special editions. Its release date, though subject to several delays, was widely anticipated.


title: Development of Grand Theft Auto V

text: The open world setting, modelled on Los Angeles and other areas of Southern California, constituted much of the development effort. Key team members conducted field trips around Southern California to gather research and footage, and Google Maps projections of Los Angeles were used to help design the city's road networks. The proprietary Rockstar Advanced Game Engine (RAGE) was overhauled to increase its draw distance rendering capabilities. For the first time in the series, players control three protagonists throughout the single-player mode. The team found the multiple protagonist design a fundamental change to the story and gameplay devices. They refined the shooting and driving mechanics and tightened the narrative's pacing and scope.


title: Development of Grand Theft Auto V

text: The actors selected to portray the protagonists invested much time and research into character development. Motion capture was used to record the characters' facial and body movements. Like its predecessors, the game features an in-game radio that plays a selection of licensed music tracks. An original score was composed over several years by a team of five music producers. They worked in close collaboration, sampling and incorporating different influences into each other's ideas. The game's re-release added a first-person view option along with the traditional third-person view. To accommodate first-person, the game received a major visual and technical upgrade, as well as new gameplay features like a replay editor that lets players create gameplay videos.


title: Development of Grand Theft Auto V

text: Preliminary work on "Grand Theft Auto V" began around "Grand Theft Auto IV"s release in April 2008; full development lasted approximately three years. Rockstar North's core 360-person team co-opted studios around the world owned by parent company Rockstar Games to facilitate development between a full team of over 1,000. These included Rockstar's Leeds, Lincoln, London, New England, San Diego and Toronto studios. Technical director Adam Fowler said that while development was shared between studios in different countries, the process involved close collaboration between the core team and others. This was necessary to avoid difficulties if studios did not communicate with each other as many game mechanics work in tandem. Game development ceased by 25 August 2013, when it was submitted for manufacturing. Media analyst Arvind Bhatia estimated the game's development budget exceeded , and "The Scotsman" reporter Marty McLaughlin estimated that the combined development and marketing efforts exceeded (), making it the most expensive video game ever made at its time.


title: Development of Grand Theft Auto V

text: The proprietary Rockstar Advanced Game Engine (RAGE) was overhauled for the game to improve its draw distance rendering capabilities, and the Euphoria and Bullet engines handle further animation and environment rendering tasks. The team found they could render the game world with greater detail than in "Grand Theft Auto IV" because they had become familiar with the PlayStation 3 and Xbox 360's hardware. Art director Aaron Garbut said that while the consoles' ageing hardware were tiring to work with, the team could still render detailed lighting and shadows and "maintain a consistent look". Vice president Dan Houser felt working on "Grand Theft Auto IV" with relatively new hardware was a challenge, but the team had since learnt to develop for the consoles more efficiently. The PlayStation 3, PlayStation 4 and Xbox One versions fit onto one Blu-ray Disc; Xbox 360 copies are distributed on two DVDs and require an 8 GB installation on the HDD or external storage device; while the Microsoft Windows (PC) version takes up seven DVDs. The team asserted any differences between the PlayStation 3 and Xbox 360 versions would be negligible.


title: Development of Grand Theft Auto V

text: Initial work on "Grand Theft Auto V" constituted the open world creation, where preliminary models were constructed in-engine during pre-production. The game's setting is the fictional US state of San Andreas and city of Los Santos, based on Southern California and Los Angeles respectively. San Andreas was first used as "" setting, which featured three cities separated by open countryside. The team thought the ambition of including three cities in "San Andreas" was too high, as it did not emulate the cities as well as they had hoped. Houser felt an effective portrayal of Los Angeles needs to emulate its urban sprawl, and that dividing the workforce between multiple cities would have detracted from capturing "what L.A. is". Garbut said PlayStation 2 era technology lacked the technical capabilities to capture Los Angeles adequately, such that "San Andreas" rendition of Los Santos looked like a "backdrop or a game level with pedestrians randomly milling about". The team disregarded "San Andreas" as a departure point for "Grand Theft Auto V" because they had moved on to a new generation of consoles and wanted to build the city from scratch. According to Garbut, game hardware had "evolved so much from "San Andreas"" that using it as a model would have been redundant. The team's focus on one city instead of three meant they could produce Los Santos in higher quality and at a grander scale than in the previous game.


title: Development of Grand Theft Auto V

text: Los Angeles was extensively researched for the game. The team organised field research trips with tour guides and architectural historians, and captured around 250,000 photographs and many hours of video footage. Houser said, "We spoke to FBI agents that have been undercover, experts in the Mafia, street gangsters who know the slangwe even went to see a proper prison". He considered the open world's research and creation the most challenging aspects of the game's production. Google Maps and Street View projections of Los Angeles were used by the team to help design Los Santos' road networks. The team studied virtual globe models, census data and documentaries to reproduce the city's geographical and demographic spread. The team opted to condense the city's spread into an area players could comfortably traverse to capture "the essence of what's really there in a city, but in a far smaller area", according to Houser. "The New Yorker" Sam Sweet opined that the "exhaustive field work ... wasn't conducted to document a living space. Rather, it was collected to create an extremely realistic version of a Los Angeles that doesn't actually exist". Garbut noted that Los Angeles was used merely as a starting point and that the team were not "dictated by reality" while building Los Santos.


title: Development of Grand Theft Auto V

text: The open world includes vast tracts of countryside around the city proper. Research took the team to California's rural regions; Garbut recalled a visit he took with Houser to Bombay Beach that inspired them to set Trevor's initial story against the Salton Sea. The team wanted a large world without open, empty areas and condensed Southern California's countryside into a detailed play space. The game world covers about an eightieth of Los Angeles County. Its scale is greater than Rockstar's previous open world games; Garbut estimated it is large enough to fit "San Andreas", "Grand Theft Auto IV" and "Red Dead Redemption"s worlds combined inside. To accommodate the world's size, the team overhauled the RAGE to improve its draw distance rendering capabilities. The large, open space permitted the re-introduction of fixed-wing aircraft, omitted from "Grand Theft Auto IV" because of its relatively smaller scale. "We wanted somewhere big [to let players] fly properly", Houser explained. Lead producer Leslie Benzies noted that to avoid a "hollow" countryside area, the team populated the open world with wildlife.


title: Development of Grand Theft Auto V

text: A single-player story revolving around three lead protagonists was one of "Grand Theft Auto V"s earliest design objectives. Garbut felt such a deviation from the gameplay's core structure was a risk, and recalled team concern that a departure from "Grand Theft Auto"s traditional, single lead character set-up "might backfire". Early game conceptualisations would have told three separate stories through different protagonists. Later, "Grand Theft Auto IV"s stories inspired the concept that story trajectories would meet throughout the game. Eventually, the concept evolved into three interconnected stories that intertwined through the missions. According to Benzies, the team made the multiple character formula "integral to the structure of the gameplay as well as the narrative". Houser opined that "Grand Theft Auto V" is their "strongest plotted game because the characters are so intertwined" and that the "meeting points [between the characters' stories] are very exciting".


title: Development of Grand Theft Auto V

text: The central story theme is the "pursuit of the almighty dollar". Missions follow the lead characters' efforts to plan and execute complicated heists to accrue wealth for themselves. The team focused on money as the central theme in response to the 2007–08 financial crisis, as its effects turn the main characters back to a life of crime. "We wanted this post-crash feeling, because it works thematically in this game about bank robbers", Houser explained. The positive reaction to "Grand Theft Auto IV"s "Three Leaf Clover" missionan elaborate heist executed by lead protagonist Niko Bellic and accomplicesencouraged the team to develop the story around the heists. Houser said while "Three Leaf Clover" was well-received, the team had not captured the thrill of the robbery to their best abilities and wanted "Grand Theft Auto V" to achieve it. He felt a strong bank robbery mission "was a good device that we'd never used in the past. Repeating ourselves is a fear when we're doing games where part of the evolution is just technological".


title: Development of Grand Theft Auto V

text: The game has players control three characters: Michael de Santa, Franklin Clinton and Trevor Philips. The team wrote each character to embody a game protagonist archetype; Michael represents greed, Franklin ambition and Trevor insanity. Houser felt Michael and Trevor were written to juxtapose each other, with Michael "like the criminal who wants to compartmentalise and be a good guy some of the time" and Trevor "the maniac who isn't a hypocrite". He considered that the three lead characters helped move the game's story into more original territory than its predecessors, which traditionally followed a single protagonist rising through the ranks of a criminal underworld. Ned Luke portrayed Michael, Shawn "Solo" Fonteno portrayed Franklin, and Steven Ogg portrayed Trevor. Fonteno first became aware of the acting job through his friend DJ Pooh, who worked on "San Andreas" and was involved in "Grand Theft Auto V"s music production.


title: Development of Grand Theft Auto V

text: When Luke's agent advised him of the casting call, he initially did not want to audition for the part because it was in a video game. After reading the audition material and learning more about the project, he became interested. He reflected, "I went immediately after reading the material from 'I'm not doing it' to 'nobody else is doing it'. It was just brilliant". During the initial audition process, Ogg noticed on-set chemistry between him and Luke, which he felt helped secure them the roles. "When [Luke] and I went in the room together we immediately had something", he explained. While the actors knew their auditions were for Rockstar Games, it was not until they signed contracts that they learnt it was a "Grand Theft Auto" title.


title: Development of Grand Theft Auto V

text: Work for the actors began in 2010. Their performances were mostly recorded using motion capture technology. Dialogue for scenes with characters seated in vehicles was recorded in studios. Because the actors had their dialogue and movements recorded on-set, they found their performances no different to film or television roles. Their dialogue was scripted such that they could not ad-lib; however, with directorial approval they sometimes made small changes to their performances. To prepare for his role as Michael, Luke gained 25 pounds and studied Rockstar's previous games, starting with "Grand Theft Auto IV". He considered Michael's characterisation to be an amalgamation of Hugh Beaumont's portrayal of Ward Cleaver in the American sitcom "Leave It to Beaver" (1957–63) and Al Pacino's portrayal of Tony Montana in the 1983 film "Scarface".


title: Development of Grand Theft Auto V

text: Ogg felt Trevor's characterisation developed over time. He said, "Nuances and character traits that began to appearhis walk, his manner of speech, his reactions, definitely informed his development throughout the game". Ogg cites Tom Hardy's portrayal of English criminal Charles Bronson in the 2008 biopic "Bronson" as a strong stylistic influence. He opined that while Trevor embodies the violent, psychopathic "Grand Theft Auto" anti-hero archetype, he wanted to evoke player sympathy to Trevor's story. "To elicit other emotions was tough, and it was the biggest challenge and it's something that meant a lot to me", Ogg explained. Fonteno felt growing up in South Los Angeles and being exposed to drug trafficking and gang culture authenticated his portrayal of Franklin. "I lived his life before ... He's been surrounded by drugs, the crime, living with his auntI lived with my grandmotherso there was a lot of familiarity", Fonteno said. Having not worked as an actor since portraying Face in the 2001 film "The Wash", he sought counsel from Luke and Ogg to refine his acting skills.


title: Development of Grand Theft Auto V

text: "Grand Theft Auto V"s multiple protagonist design was envisioned to improve the series' core mechanics. The team sought to innovate game storytelling and negate stale familiarity by not evolving the gameplay's core structure. "We didn't want to do the same thing over again", said Houser. The multiple protagonist idea was first raised during "San Andreas" development but contemporaneous hardware restrictions made it infeasible. Garbut explained, "It didn't work from a tech point of view because the three characters need three times as much memory, three types of animation and so on". After "Grand Theft Auto IV"s release, the team developed "" and "", episodic content packages that followed new protagonists. The three interwoven stories received positive remarks, so the team structured "Grand Theft Auto V" around this model.


title: Development of Grand Theft Auto V

text: The development team found that players experienced greater freedom when controlling three characters in missions. Lead mission designer Imran Sarwar felt they opened up more strategic manoeuvres. He cited a combat scenario where Michael sets up at a sniper outpost to cover Trevor, who makes a frontal assault on the enemy position while Franklin manipulates flank points. Benzies felt character switching streamlines the interplay between free roam and linear mission gameplay, as it eliminates "San Andreas" cumbersome long-distance drives to mission start points. Players may "explore the whole map without having to worry about the long drive back", according to Benzies. Houser noted the mechanic's use during missions negated long drives as well. The team implemented dynamic mission content throughout the open world, a feature borrowed from "Red Dead Redemption". Dynamic missions present themselves while players explore the open world and may be accepted or ignored. In Los Santos, for example, players may encounter an armoured van and try to intercept it to steal its contents.


title: Development of Grand Theft Auto V

text: The team overhauled the game's shooting and driving mechanics to match the standards of its contemporaries. Public reception to the team's previous games (such as "Grand Theft Auto IV", "Red Dead Redemption" and "Max Payne 3") was considered during the process. To increase the pace of shootouts, the team removed hard lockinga central mechanic in "Grand Theft Auto IV" that instantly locks onto the enemy nearest to the crosshair. Associate technical director Phil Hooker found hard locking "too disorientating" and immersion-breaking, "as you didn't have to think about enemy locations". He said "Grand Theft Auto IV" players "just rely on holding and shooting until a target is dead", so "Grand Theft Auto V" introduces a timer that breaks the lock on a target after a few seconds. The team refined "Red Dead Redemption"s cover system for the game, with increased fluidity moving into and out of cover. Regarding the reworked vehicle mechanics, Houser felt the game took influence from racing games and corrected "Grand Theft Auto IV"s "boat-like" driving controls.


title: Development of Grand Theft Auto V

text: "Grand Theft Auto V" is the first game in its series to use an original score. Music supervisor Ivan Pavlovich summarised the original score idea as "daunting", because it was unprecedented for a "Grand Theft Auto" game. Like most previous series entries, the game uses licensed music tracks provided by an in-game radio as well. Pavlovich hoped the original score would enhance the licensed music use, not detract from it. He further noted the balancing act between the score's "ambient subtext and tensions" and the game's on-screen action. To work on the score, Rockstar engaged The Alchemist, Oh No and Tangerine Dream with Woody Jackson, who had previously worked on "Red Dead Redemption", "L.A. Noire" and "Max Payne 3"s music. The team of producers collaborated over several years to create more than twenty hours of music that scores both the game's missions and dynamic gameplay throughout the single-player and multiplayer modes.


title: Development of Grand Theft Auto V

text: Early in the game's development, the music team were shown an early build before starting work on the score. Their work was mostly complete later in development, but they continued composing until its final build was submitted for manufacturing. Edgar Froese, Tangerine Dream's founding member, initially rejected the offer of producing music for a video game. After he was flown to the studio and shown the game, he was impressed by its scale and cinematic nature, and changed his mind. Froese's first eight months of work on the score produced 62 hours of music. He recorded with Tangerine Dream in Austria, but further work was conducted at Jackson's United States studio, which The Alchemist and Oh No used as well.


title: Development of Grand Theft Auto V

text: Jackson's initial role was to provide the score for Trevor's missions, and he took influence from artists such as The Mars Volta and Queens of the Stone Age. When he learnt the team would be building off each other's work, he voiced concern that the finished product could be disjointed. After sharing his work with the team, however, he was particularly impressed by Froese's contributions. "Edgar evolved the music, made it into a whole other thing", Jackson said. Froese had interpolated funk sounds with Jackson's hip-hop influences. Froese and Jackson then sent their work between The Alchemist and Oh No, who heavily sampled it. The Alchemist opined, "We were sampling, taking a piece here, a piece from there ... We pitched stuff up, chopped it, tweaked it. Then we chose the tracks that worked and everyone came in and layered on that". DJ Shadow then mixed the team's creations and matched it to the gameplay. Pavlovich considered "how to make the hip-hop and rock score not sound like they were instrumentals of songs on the radio, but rather something unique to the score" a challenge.


title: Development of Grand Theft Auto V

text: Pavlovich found that while Rockstar assigned the team missions to write music for, some of their random creations influenced other missions and sparked inspiration for further score development. He discussed a "stem-based" system used to make music fit dynamic game factors where the team would compose music to underscore outcomes players could make immediately after completing missions. Each of these stems, Froese reflected, included up to 62 five-minute WAV files, which were sent to Pavlovich in New York. "He then created, very professionally, a mix down for each of the eight stems needed for a mission and sent out the material to the other artists involved", Froese elaborated. Oh No drew from scenes within the game to make his work feel contextually pertinent with the action on-screen. The iconographic introduction of Los Santos early in the game, for example, inspired him to "create a smooth West Coast vibe that embodied" the city. He supplied horns, electric and bass guitars, and percussion parts to fit with the car chase scenes. "We wanted everything to set the right tone", he explained.


title: Development of Grand Theft Auto V

text: The Rockstar team wanted to synergise the game world's depiction of California with the radio stations by licensing tracks that imparted an appropriate "Cali feel". Pavlovich noted that Los Angeles' cultural saturation of pop music necessitated the Non-Stop-Pop FM station; he said "the first time you get off an airplane in L.A. and you hear the radio and the pop just seeps out ... We wanted that. It really connects you to the world". He felt that greater discernment was required for licensed music choices than in "Grand Theft Auto IV" because "Grand Theft Auto V"s music plays a pivotal role in generating Californian atmosphere. Music "reflects the environment in which the game is set", he said. Initially, the team planned to license over 900 tracks for the radio, but they refined the number to 241. The tracks are shared between fifteen stations, with an additional two talk-back stations and a radio station for custom audio files on the PC version. Some tracks were written specifically for the game, such as rapper and producer Flying Lotus' original work composed for the FlyLo FM station he hosts. Pavlovich noted how the team would first develop an idea of what each station would sound like, and then select a DJ to match the station's genre, such as Kenny Loggins who hosts the classic rock station Los Santos Rock Radio. He felt that to strike a balance between the radio and the score was a meticulous process, and cited a scenario where players would drive to a mission objective while listening to the radio, with the score taking over once players left the vehicle and proceeded to the mission's next stage.


title: Development of Grand Theft Auto V

text: During a September 2009 earnings call, Take-Two Interactive CEO Strauss Zelnick was asked about "Grand Theft Auto V", the purported next game in the series. He replied, "We're not going to announce it, we're not going to announce when we are going to announce it, and we are not going to announce a strategy about announcing it or about when we are going to announce it either, or about the announcement strategy surrounding the announcement of the strategy". That November, Houser discussed with "The Times" his work on the series and the process that would be undertaken for the next "Grand Theft Auto" game. He expressed plans to co-write a thousand-page script and said that, when developing a new game, the team typically created a city and then developed the lead cast. In July 2010, Rockstar North posted seven job advertisements related to a new title. The company wanted to recruit environment artists, physics programmers and character animatorsthe latter advertisement asked for recruits with "professional experience developing a third person action game". Journalists wrote that the job listing was indicative of "Grand Theft Auto V"s existence. In June 2011, anonymous sources allegedly close to the developer told GameSpot the title was "well under way", with a 2012 release date likely.


title: Development of Grand Theft Auto V

text: Rockstar Games first confirmed the game's existence on 25 October 2011 in an announcement on its official website and Twitter feed. Take-Two Interactive's share price subsequently increased by seven per cent. Journalists said the announcement ignited significant anticipation within the gaming industry, which they owed to the series' cultural significance. The game did not meet its original projected March–May 2013 release date. By 30 October 2012, promotional posters had spread to the Internet, and a listing by the retailer Game had leaked the projected release date. Rockstar announced a scheduled Q2 2013 release that day and began accepting pre-orders on 5 November.


title: Development of Grand Theft Auto V

text: On 31 January 2013, the company announced the release date had been postponed until 17 September of that year. "It simply needs a little more polish to be of the standard we and, more importantly, you require", Rockstar stated in a press release. On 23 August, reports stated that some European PlayStation 3 users who had pre-ordered "Grand Theft Auto V" were able to download parts of the game, including its soundtrack and some character dialogue. Details of the game were leaked later that day and on following days before Sony removed the pre-order file from the European PlayStation Network and released an official apology to Rockstar and its fans. In response, Rockstar stated it was "deeply disappointed by leaks and spoilers being spread in advance of the game's launch". The game was released in Japan on 10 October. At E3 2014, a re-release of the game was announced for PC, PlayStation 4, and Xbox One. The PC version, initially scheduled for simultaneous release with the console versions, was delayed three times: first to 27 January 2015, later to 24 March and again to 14 April. According to Rockstar, the game required extra development time for "polishing". PlayStation 5 and Xbox Series X/S versions were announced in June 2020; originally scheduled for release on 11 November 2021, they were later pushed to March 2022, specified in February 2022 to 15 March. They feature additional technical enhancements and performance upgrades.


title: Development of Grand Theft Auto V

text: The game was extensively marketed through video trailers and press demonstrations. On 2 November 2011, a week after the announcement, the debut trailer was released. It is narrated by Michael and depicts the open world accompanied by the song "Ogdens' Nut Gone Flake" by English rock band Small Faces. A press release published the same day confirmed the game's open world recreation of Southern California and Los Angeles. Almost a year later, "Game Informer" ran a "Grand Theft Auto V" cover story for their December 2012 issue. Rockstar intended to release the second promotional trailer on 2 November. However, these plans were hampered by Hurricane Sandy, which cut power supplies to Rockstar's New York offices. The trailer was eventually released on 14 November; it introduces the lead protagonists' back-stories and features the song "Skeletons" by American musician Stevie Wonder.


title: Development of Grand Theft Auto V

text: To unveil the cover art, Rockstar contracted artists to paint a mural on a wall in Manhattan on 31 March 2013, followed by the artwork's digital release on 2 April. It showed English model Shelby Welinder portraying a blonde beach-goer. Three trailers were released on 26 April, each focusing on one of the protagonists. The songs "Radio Ga Ga" by English band Queen, "Hood Gone Love It" by American rapper Jay Rock and "Are You Sure Hank Done It This Way" by American musician Waylon Jennings are used in the Michael, Franklin and Trevor trailers respectively.


title: Development of Grand Theft Auto V

text: A trailer released on 9 July features the first gameplay footage. It demonstrates the shooting and driving mechanics, and the ability to swap between characters instantaneously. "Grand Theft Auto Online" was unveiled in a trailer released on 15 August. The video displayed activities like bank heists, small robberies, "traditional" game modes, purchase of property and bicycle-riding. The final pre-launch trailer was released on 29 August, intended to be a television advertisement. The song "Sleepwalking" by American band The Chain Gang of 1974 was used in this trailer.


title: Development of Grand Theft Auto V

text: Viral marketing strategies were used to promote the game. Visitors to the website of The Epsilon Programa fictional religious cult within the "Grand Theft Auto" universewere offered a chance to register for that group. After filling in an online membership form, the terms and conditions revealed that the site was a casting call for five people to appear in the game as members of the fictional cult. The official "Grand Theft Auto V" website was redesigned on 13 August 2013 to show a preview of activities and locales within the open world and an examination of the lead protagonists' stories. More information was released on the website on 24 August, 6 September, and 13 September.


title: Development of Grand Theft Auto V

text: To spur pre-order sales, Rockstar collaborated with several retail outlets to provide special edition versions of the game. The "Special Edition" includes a unique case packaging, a game map and unlock codes for additional content in the single-player and multiplayer modes. The publisher collaborated with Sony to release a 500 GB PlayStation 3 console, which includes a copy of the game, a 30-day trial membership for the PlayStation Plus service and a set of "Grand Theft Auto V"-branded headphones. All game pre-orders granted the purchaser an access code for the in-game Atomic Blimp aircraft. GameStop held a promotional raffle with the chance to win a real-life Bravado Banshee sports car (the game's counterpart of the Dodge Viper). Rockstar collaborated with West Coast Customs to build the vehicle.


title: Development of Grand Theft Auto V

text: Shortly after the game's release, the iFruit application was released for iOS devices. It lets players customise vehicles, create custom license plates and teach Franklin's dog Chop new tricks, which unlocks additional in-game abilities. Upon its launch, some users reported problems connecting to the application's servers; these problems were resolved with an update on 25 September 2013. iFruit was released for Android on 29 October, and for Windows Phone devices on 19 November. A PlayStation Vita port was released on 1 April 2014.


title: Development of Grand Theft Auto V

text: The enhanced version for PC, PlayStation 4 and Xbox One features an increased draw distance, finer texture details, denser traffic, upgraded weather effects, and new wildlife and vegetation. It features more than 162 new songs across the game's radio stations. Players could transfer "Grand Theft Auto Online" characters and progression between some platforms and gain exclusive activities and in-game discounts on weapons and vehicles. The re-release features a new on-foot first-person view option that players may configure to personal preference (for example, by making the view toggle to third-person when taking cover). Animation director Rob Nelson said that a first-person option was raised during PlayStation 3 and Xbox 360 development, but their relatively smaller banks of memory were already being pushed, such that adding new first-person animations would have inhibited the open world render. According to Nelson, the first-person view required more development effort than simply repositioning the camera, because of the need to adapt combat to a different view. The weapons were upgraded to a higher resolution, and new animations including weapon recoil, reload and switch were added. "I think we created 3,000 animations on weapons alone", said Nelson.


title: Development of Grand Theft Auto V

text: The PlayStation 4 version uses the DualShock 4's touchpad to navigate camera options and speaker to play smartphone calls, while the Xbox One Controller's "Impulse Triggers" may rumble while players use vehicles.<ref name="IGN PS4/XB1 review in progress"></ref> The PC version features the "Rockstar Editor", a replay editor that lets players create video clips of their gameplay. It features a "Director Mode" that lets players record footage with various characters that speak and perform contextual actions at will. Players can adjust the time of day and weather settings, and use cheat codes to access more cinematic effects. An editing suite lets players add music from the game's soundtrack and score, and access various depth of field and filter effects. Finished works may be uploaded directly to YouTube and entered into Rockstar Games Social Club contests. Later, the PlayStation 4 and Xbox One versions received the Rockstar Editor through a free title update, which added various features such as expanded sound effects and text styles libraries across all three platforms.


title: Development of Grand Theft Auto V

text: Art director Aaron Garbut said the addition of first-person inspired the enhanced version's graphical upgrade. Remodelled cars feature interior effects including functional speedometers, fuel gauges and dashboard handbrake lights. The team added new particle and lighting effects, "like fireflies at night in the countryside, or ambient light pollution over Los Santos at night", according to Garbut. "Red Dead Redemption" inspired the team to add more vegetation to "break up the hard edges [and] straight lines" of the open world. The original version's vegetation was replaced with more detailed equivalents in the enhanced version. An upgraded weather system lets tree branches and leaves blow realistically in the wind. The team hand placed weeds along fences and walls, and placed grass over many of the open world's terrains. They then layered foliage, rocks and litter over the grass. An upgraded screen space ambient occlusion (SSAO) system renders new particle, shadow and weather effects, such as volumetric fog or neon reflections in cars at night. The ambient light pollution over nighttime Los Santos may dissipate in poor weather. A dynamic depth of field system sharpens and softens images to emulate camera autofocus, and improved shaders produce new colours in skin and terrain textures.


title: Development of Grand Theft Auto V

text: Initial PC version development began in parallel with PlayStation 3 and Xbox 360. PC development later gave way as focus shifted to the console releases but eventually resumed. Because the team had planned a PC version from early on, they made technical decisions in advance to facilitate later development, like support for 64-bit computing and DirectX 11. The art team authored their source art at high resolutions even though they needed to be compressed on the PlayStation 3 and Xbox 360, with the foresight that PC versions would display these assets uncompressed. These early decisions aided the PlayStation 4 and Xbox One versions' development as well, due to their similar system architectures to the PC. Their similarities helped the team "ramp up" to the PC version, where they could push the visuals and technology further than before. The PC development team consisted of members of the original team and PC specialists from Rockstar's other studios who had brought "Grand Theft Auto IV", "Max Payne 3" and "L.A. Noire" to the platform. The PC's recommended specifications are based on the game running a native 1080p resolution at 60 frames per second (fps); the team suggested 60 fps as the optimal performance benchmark. The PC build supports 4K resolution and uncapped framerates as well. The team opted to give players the choice to configure the game according to their individual system specifications. Players may configure LOD draw distances, anisotropic filtering, graphics effects and so on. A population density slider affects the density of street-walking pedestrians and cars on the roads.


title: Midjourney

text: Midjourney is an independent research lab that produces a proprietary artificial intelligence program that creates images from textual descriptions, similar to OpenAI's DALL-E and the open-source Stable Diffusion. The tool is currently in open beta, which it entered on July 12, 2022. The Midjourney team is led by David Holz, who co-founded Leap Motion. Holz told "The Register" in August 2022 that the company was already profitable. Users create artwork with Midjourney using Discord bot commands.


title: Midjourney

text: The company has been working on improving its algorithms, releasing new versions every few months. Version 2 of their algorithm was launched in April 2022 and version 3 in July. On November 10th, 2022, the alpha iteration of version 4 was released to users.


title: Midjourney

text: Midjourney is currently only accessible through a Discord bot on their official Discord, by direct messaging the bot, or by inviting the bot to a third party server. To generate images, users use the command and type in a prompt; the bot then returns an image. Midjourney is also working on a web interface.


title: Midjourney

text: Founder David Holz says he sees artists as customers, not competitors of Midjourney. Holz told "The Register" that artists use Midjourney for rapid prototyping of artistic concepts to show to clients before starting work themselves. Because Midjourney's training set may include copyrighted artists' works, some artists have accused Midjourney of devaluing original creative work. Midjourney's terms of service includes a DMCA takedown policy, allowing artists to request their work to be removed from the set, if they believe copyright infringement to be evident.


title: Midjourney

text: The advertising industry has been quick to embrace AI tools such as Midjourney, DALL-E, and Stable Diffusion, among others. The tools, which enable advertisers to create original content and brainstorm ideas quickly are providing new opportunities such as, “custom ads created for individuals, a new way to create special effects, or even making e-commerce advertising more efficient,” according to "Ad Age".


title: Midjourney

text: The program was used by the British magazine "The Economist" to create the front cover for an issue in June 2022. In Italy, the leading newspaper "Corriere della Sera" published a comic created with Midjourney by writer Vanni Santoni in August 2022. Charlie Warzel used Midjourney to generate two images of Alex Jones for Warzel's newsletter in "The Atlantic". The use of an AI-generated cover was criticised by people who felt it was taking jobs from artists. Warzel called his action a "mistake" in an article about his decision to use generated images. "Last Week Tonight with John Oliver" included a 10-minute segment on Midjourney in an episode broadcast in August 2022.


title: Midjourney

text: A Midjourney image called "Théâtre d'Opéra Spatial" won first place in the digital art competition at the 2022 Colorado State Fair. Jason Allen, who wrote the prompt that led Midjourney to generate the image, printed the image onto a canvas and entered it into the competition using the name "Jason M. Allen via Midjourney". Other digital artists were upset by the news. Allen was unapologetic, insisting that he followed the competition's rules. The two category judges were unaware that Midjourney used AI to generate images, although they later said that had they known this, they would have awarded Allen the top prize anyway.


title: Midjourney

text: In December 2022, Midjourney was used to create an AI-generated children's book in the span of a weekend. Titled "Alice and Sparkle", the book features a young girl who builds a robot that becomes self-aware. The creator, Ammaar Reeshi, spent hours tweaking Midjourney prompts, rejecting hundreds of generated results to ultimately choose 13 illustrations for the book. Both the product and process drew criticism: “the main problem... is that it was trained off of artists’ work. It’s our creations, our distinct styles that we created, that we did not consent to being used," one artist wrote.


title: Peptide bond

text: In organic chemistry, a peptide bond is an amide type of covalent chemical bond linking two consecutive alpha-amino acids from C1 (carbon number one) of one alpha-amino acid and N2 (nitrogen number two) of another, along a peptide or protein chain.


title: Peptide bond

text: It can also be called a eupeptide bond to distinguish it from an isopeptide bond, which is another type of amide bond between two amino acids.


title: Peptide bond

text: When two amino acids form a "dipeptide" through a "peptide bond", it is a type of condensation reaction. In this kind of condensation, two amino acids approach each other, with the non-side chain (C1) carboxylic acid moiety of one coming near the non-side chain (N2) amino moiety of the other. One loses a hydrogen and oxygen from its carboxyl group (COOH) and the other loses a hydrogen from its amino group (NH). This reaction produces a molecule of water (HO) and two amino acids joined by a peptide bond (−CO−NH−). The two joined amino acids are called a dipeptide.


title: Peptide bond

text: The amide bond is synthesized when the carboxyl group of one amino acid molecule reacts with the amino group of the other amino acid molecule, causing the release of a molecule of water (HO), hence the process is a dehydration synthesis reaction.


title: Peptide bond

text: The formation of the peptide bond consumes energy, which, in organisms, is derived from ATP. Peptides and proteins are chains of amino acids held together by peptide bonds (and sometimes by a few isopeptide bonds). Organisms use enzymes to produce nonribosomal peptides, and ribosomes to produce proteins via reactions that differ in details from dehydration synthesis.


title: Peptide bond

text: Some peptides, like alpha-amanitin, are called ribosomal peptides as they are made by ribosomes, but many are nonribosomal peptides as they are synthesized by specialized enzymes rather than ribosomes. For example, the tripeptide glutathione is synthesized in two steps from free amino acids, by two enzymes: glutamate–cysteine ligase (forms an isopeptide bond, which is not a peptide bond) and glutathione synthetase (forms a peptide bond).


title: Peptide bond

text: A peptide bond can be broken by hydrolysis (the addition of water). The hydrolysis of peptide bonds in water releases 8–16 kJ/mol (2–4 kcal/mol) of Gibbs energy. This process is extremely slow, with the half life at 25 °C of between 350 and 600 years per bond.


title: Peptide bond

text: In living organisms, the process is normally catalyzed by enzymes known as peptidases or proteases, although there are reports of peptide bond hydrolysis caused by conformational strain as the peptide/protein folds into the native structure. This non-enzymatic process is thus not accelerated by transition state stabilization, but rather by ground-state destabilization.


title: Peptide bond

text: The wavelength of absorption for a peptide bond is 190–230 nm, which makes it particularly susceptible to UV radiation.


title: Peptide bond

text: Significant delocalisation of the lone pair of electrons on the nitrogen atom gives the group a partial double-bond character. The partial double bond renders the amide group planar, occurring in either the cis or trans isomers. In the unfolded state of proteins, the peptide groups are free to isomerize and adopt both isomers; however, in the folded state, only a single isomer is adopted at each position (with rare exceptions). The trans form is preferred overwhelmingly in most peptide bonds (roughly 1000:1 ratio in trans:cis populations). However, X-Pro peptide groups tend to have a roughly 30:1 ratio, presumably because the symmetry between the C and C atoms of proline makes the cis and trans isomers nearly equal in energy, see the figure.


title: Peptide bond

text: The dihedral angle associated with the peptide group (defined by the four atoms C–C'–N–C) is denoted formula_1; formula_2 for the cis isomer (synperiplanar conformation), and formula_3 for the trans isomer (antiperiplanar conformation). Amide groups can isomerize about the C'–N bond between the cis and trans forms, albeit slowly (formula_4 seconds at room temperature). The transition states formula_5 requires that the partial double bond be broken, so that the activation energy is roughly 80 kJ/mol (20 kcal/mol). However, the activation energy can be lowered (and the isomerization catalyzed) by changes that favor the single-bonded form, such as placing the peptide group in a hydrophobic environment or donating a hydrogen bond to the nitrogen atom of an X-Pro peptide group. Both of these mechanisms for lowering the activation energy have been observed in "peptidyl prolyl isomerases" (PPIases), which are naturally occurring enzymes that catalyze the cis-trans isomerization of X-Pro peptide bonds.


title: Peptide bond

text: Conformational protein folding is usually much faster (typically 10–100 ms) than cis-trans isomerization (10–100 s). A nonnative isomer of some peptide groups can disrupt the conformational folding significantly, either slowing it or preventing it from even occurring until the native isomer is reached. However, not all peptide groups have the same effect on folding; nonnative isomers of other peptide groups may not affect folding at all.


title: Peptide bond

text: Due to its resonance stabilization, the peptide bond is relatively unreactive under physiological conditions, even less than similar compounds such as esters. Nevertheless, peptide bonds can undergo chemical reactions, usually through an attack of an electronegative atom on the carbonyl carbon, breaking the carbonyl double bond and forming a tetrahedral intermediate. This is the pathway followed in proteolysis and, more generally, in N–O acyl exchange reactions such as those of inteins. When the functional group attacking the peptide bond is a thiol, hydroxyl or amine, the resulting molecule may be called a cyclol or, more specifically, a thiacyclol, an oxacyclol or an azacyclol, respectively.


title: Windows Movie Maker

text: Windows Movie Maker (known as Windows Live Movie Maker for the 2009 and 2011 releases) is a discontinued video editing software program by Microsoft. It was first included in Windows Me on September 14, 2000 and in Windows XP on October 25, 2001. It was a part of the Windows Essentials software suite, and offered the ability to create and edit videos as well as to publish them on OneDrive, Facebook, Vimeo, YouTube, Windows Live Groups, and Flickr. It is comparable to Apple’s iMovie.


title: Windows Movie Maker

text: Movie Maker was officially discontinued on January 10, 2017, and it is replaced by "Video Editor" (formerly "Microsoft Story Remix") which is built in with Microsoft Photos on Windows 10, and Clipchamp on Windows 11, which Microsoft acquired in September 2021.


title: Windows Movie Maker

text: Version 1.1 was included in Windows XP a year later, and included support for creating DV AVI and WMV 8 files. Version 2.0 was released as a free update in November 2002, and added a number of new features. Version 2.1, a minor update, is included in Windows XP Service Pack 2. The Movie Maker in Windows XP Media Center Edition 2005 had more transitions and support for DVD burning.


title: Windows Movie Maker

text: The next version of Movie Maker was released as part of Windows Vista and – like most Windows components – reported version number 6.0.6000, same as Windows Vista itself. It included new effects and transitions, support for playback on the Xbox 360, and support for the DVR-MS file format that Windows Media Center records television in. The HD version in Premium and Ultimate editions of Windows Vista also added support for capturing from HDV camcorders. The capture wizard also created DVR-MS type files from HDV tapes. However, the Windows Vista version of Windows Movie Maker removed support for importing video from an analog video source such as an analog camcorder, VCR or from a webcam.


title: Windows Movie Maker

text: As some older systems might not be able to run the new version of Windows Movie Maker, Microsoft also released an updated older version 2.6 for Windows Vista on Microsoft Download Centre. This version included the old effects and transitions, and is basically the same as Windows Movie Maker 2.1, but without the ability to capture video. Installation requires Windows Vista and is only intended for use on computers where the hardware accelerated version cannot be run.


title: Windows Movie Maker

text: A Windows Presentation Foundation (WPF) version of Windows Movie Maker was also included in some development builds of Vista (at the time codenamed "Longhorn"), but was removed in the development reset in August 2004. After the development reset, the interface for the WPF-based Windows Movie Maker was retained in Windows Vista.


title: Windows Movie Maker

text: A new version of the software, renamed Windows Live Movie Maker 2009, was released as a beta on September 17, 2008, and officially released as a standalone product through Windows Live Essentials suite on August 19, 2009. This was effectively a completely new application, as it could not read projects created by earlier versions and did not support custom XML transitions written for the previous versions. In addition, many features were removed.


title: Windows Movie Maker

text: Also, Movie Maker's interface was redesigned in the Windows Live version to use a ribbon toolbar similar to Office 2007; it also added features such as "Auto Movie" and the ability to export a videos directly to DVDs and YouTube. Certain advanced features were also removed from the software, such as image stabilization and the ability to record voice-overs.


title: Windows Movie Maker

text: Movie Maker 2009 supported both Windows Vista and Windows 7. As the previous version of Windows Movie Maker was no longer included with the operating system, the only way to obtain Movie Maker on Windows 7 and later was through the Windows Live Essentials suite, although some manufacturers pre-installed the application on new PCs.


title: Windows Movie Maker

text: An updated version, Windows Live Movie Maker 2011, was released on August 17, 2010, adding features such as webcam capture, support for high-definition video, the ability to upload videos directly to SkyDrive, Facebook, and YouTube through their respective web APIs, and the ability to add media files stored on network shares to projects.


title: Windows Movie Maker

text: With the discontinuation of the Windows Live brand (and the re-branding of the Windows Live suite as Windows Essentials), Windows Movie Maker 2012 was released in April 2012. Support for recording voice-overs was restored, along with an audio mixer and integration with several free stock music services. H.264/MP4 became the default export format (replacing Windows Media Video, but still can be used), support for uploading to Vimeo was introduced (other sites were added to the list in the Windows 8.1 release of the suite), and hardware accelerated video pila stabilisation was also added as an exclusive feature for Windows 8 users.


title: Windows Movie Maker

text: Movie Maker was officially removed for download on January 10, 2017. Like "Windows Photo Gallery" from Windows Essentials, Movie Maker is now replaced by the Microsoft Photos App included in Windows 10, which includes "Video Editor" (formerly "Windows Story Remix").


title: Windows Movie Maker

text: On September 8, 2021, Microsoft acquired Clipchamp, a web-based video editing app for an undisclosed amount, and integrated it as part of Windows 11 on March 9, 2022. The newly-acquired video editing app reintroduces the timeline editing layout that had been previously removed in Windows Live Movie Maker, along with additional features including a text-to-speech generator powered by Microsoft Azure, and Microsoft OneDrive integration. It is a freemium-based software.


title: Windows Movie Maker

text: After the initial criticism by many users since bundling into Windows 11 due to the maximum resolution that free plan users can export is 480p, Microsoft added the ability to export video at a maximum resolution of 1080p for free users on March 29, 2022.


title: Windows Movie Maker

text: The layout consists of a "storyboard view" and a "timeline view", collections for organizing imported video, and a preview pane. When in "Storyboard view", the video project appears as a film strip showing each scene in clips. The storyboard/timeline consists of one 'Video' (with accompanying 'Audio' bar), one 'Music/Audio' bar, and one 'Titles/Credits' bar. In each bar, clips can be added for editing (e.g., a music file will belong on the 'Music/Audio' bar). Still images can also be imported into the timeline and "stretched" to any desired number of frames. The Video and Music/Audio bars can be "cut" to any number of short segments, which will play together seamlessly, but the individual segments are isolated editing-wise, so that for example, the music volume can be lowered for just a few seconds while someone is speaking.


title: Windows Movie Maker

text: When importing footage into the program, a user can either choose to "Capture Video" (from camera, scanner or other device) or "Import into Collections" to import existing video files into the user's collections. The accepted formats for import are .WMV/.ASF, .MPG (MPEG-1), .AVI (DV-AVI), .WMA, .WAV, and .MP3. Additionally, the Windows Vista Home Premium and Ultimate editions of Movie Maker support importing MPEG-2 Program streams and DVR-MS formats. Importing of other container formats such as MP4/3GP, FLV and MOV, and AAC are also supported if the necessary codecs are installed and the system is running Windows 7 or later.


title: Windows Movie Maker

text: In the XP version, import and real-time capture of video from an analog source such as a VCR, tape-based analog camcorder or webcam is possible. This feature is based on Windows Image Acquisition. Video support in Windows Image Acquisition was removed in Windows Vista, as a result importing analog footage in Windows Movie Maker is no longer possible.


title: Windows Movie Maker

text: When importing from a DV tape, if the "Make Clips on Completion" option is selected, Windows Movie Maker automatically flags the commencement of each scene, so that the tape appears on the editing screen as a collection of short clips, rather than one long recording. That is, at each point where the "Record" button was pressed, a new "clip" is generated, although the actual recording on the hard drive is still one continuous file. This feature is also offered after importing files already on the hard drive. In the Windows Vista version, the "Make clips on completion" option has been removed — the clips are now automatically created during the capture process.


title: Windows Movie Maker

text: The efficiency of the importing and editing process is heavily dependent on the amount of file fragmentation of the hard disk. The most reliable results can be obtained by adding an extra hard disk dedicated for scratch space, and regularly re-formatting/defragmenting it, rather than simply deleting the files at the end of the project. Fragmented AVI files result in jerky playback on the editing screen, and make the final rendering process much longer.


title: Windows Movie Maker

text: Although it is possible to import digital video from cameras through the USB interface, most older cameras only support USB version 1 and the results tend to be poor — "sub VHS" — quality. Newer cameras using USB 2.0 give much better results. A FireWire interface camera will allow recording and playback of images identical in quality to the original recordings if the video is imported and subsequently saved as DV AVI files, although this consumes disk space at about 1 gigabyte every five minutes (12 GB/Hr). Alternatively, most DV cameras allow the final AVI file to be recorded back onto the camera tape for high quality playback. Some standalone DVD recorders will also directly accept DV inputs from video cameras and computers.


title: Windows Movie Maker

text: After capture, any clip can be dragged and dropped anywhere on the timeline. Once on the timeline, clips can be duplicated, split, repositioned or edited. An "AutoMovie" feature offers predefined editing styles (titles, effects and transitions) for quickly creating movies.


title: Windows Movie Maker

text: The original camera file on the hard drive is not modified; the project file is just a list of instructions for reproducing a final output video file from the original file. Thus, several different versions of the same video can be simultaneously made from the original camera footage.


title: Windows Movie Maker

text: Earlier versions of Windows Movie Maker could only export video in Windows Media Video or DV AVI formats. It includes some predefined profiles, but users can also create custom profiles. Windows XP Media Centre Edition bundled Sonic DVD Burning engine, licensed from Sonic Solutions, allowing video editors to burn their project in DVD-Video format on a DVD. In Windows Vista, Windows Movie Maker passes the video project to Windows DVD Maker.


title: Windows Movie Maker

text: Video can be exported back to the video camera if supported by the camera. Movie Maker also allows users to publish a finished video on video hosting websites.


title: Windows Movie Maker

text: Windows Movie Maker can also be used to edit and publish audio tracks. If no video or image is present, Movie Maker allows exporting the sound clips in Windows Media Audio format.


title: Windows Movie Maker

text: Versions 2.x included in Windows XP includes 60 transitions, 37 effects, 34 title and 9 credits animations. The Windows Vista version includes a different set of transitions, effects and title/credits animations while dropping a few older ones. There are in all 49 effects and 63 transitions. They are applied by using a drag and drop interface from the effects or transitions folders.


title: Windows Movie Maker

text: Early versions (V2 onwards) of Windows Movie Maker had a flexible interface so programming custom effects and other content were possible via XML. The Windows Vista version supports Direct3D-based effects. Microsoft also provides SDK documentation for custom effects and transitions. Since the effects are XML based, users could create and add custom effects and transitions of their own with XML knowledge.


title: Windows Movie Maker

text: Many custom transitions were commercially available and created additional features such as picture-in-picture.


title: Windows Movie Maker

text: Windows Movie Maker V6 did not support customisations to effects and transitions in the same way as V2.x and so many customisations had to be re-written. Versions after V6 do not support custom transitions and effects at all.


title: Windows Movie Maker

text: Movie Maker 1.0, introduced with Windows Me, was widely criticized for being "bare bones" and suffering "a woeful lack of features"; and saving movies only in Microsoft's ASF file format. Critical reception of versions 2.0 and 2.6 has been slightly more positive.


title: Windows Movie Maker

text: Many longstanding users were disappointed by the removal of so many features in the effective re-writing of the software in Live Movie Maker 2009. Some of those features (such as visualisation of the audio levels) have subsequently been re-added.


title: Windows Movie Maker

text: In June 2008, a memo purportedly by Bill Gates from January 2003 was circulated on the Internet in which he heavily criticized the downloading process for Movie Maker at the time. The memo was originally made available online as part of the plaintiffs' evidence in "Comes v. Microsoft Corp.", an antitrust class-action suit, and was submitted as evidence in that case on January 16, 2007.


title: Windows Movie Maker

text: The discontinuation of Windows Movie Maker has led to the appearance of scams abusing its name. In late 2016, a few months before the discontinuation of the Windows Essentials suite (including Movie Maker), a website named windows-movie-maker.org (no longer accessible) which offered a tampered version of Windows Movie Maker, appeared as one of the top results when searching for "Movie Maker" and "Windows Movie Maker" on Google and Bing, a scam only widely recognized as such in 2017. It was identical to the real Windows Movie Maker, however, unlike the official and free Windows Movie Maker by Microsoft, it would not let users save a video without purchasing. Upon installing and executing the program, the user was greeted with a dialogue box explaining that it was a trial and a purchase was required. ESET also detected a malware called Win32/Hoax.MovieMaker in the above-mentioned version. The fake will also restrict the installation of the WLE (Windows Live Essentials) Movie Maker by modifying the Windows registry.


title: Winchester Model 1895

text: The Winchester Model 1895 is an American lever-action repeating firearm developed and manufactured by the Winchester Repeating Arms Company in the late 19th century, chambered for a number of full-size military and hunting cartridges such as 7.62×54mmR, .303 British, .30-03, .30 Army, .30-06, .35 Winchester, .38-72 Winchester, .40-72 Winchester and .405 Winchester.


title: Winchester Model 1895

text: The first Model 1895 was the first Winchester rifle to feature a box magazine that is located underneath the action instead of the tubular magazine design, which had remained fundamentally unchanged from the Winchester 1866. This allowed the rifle to safely chamber military and hunting cartridges with spitzer (pointed) bullets. The M1895 was also the last of the lever-action rifles to be designed by John Browning, and featured a rear locking bolt as in his previous designs dating back to the Winchester 1886. The M1895 is the strongest lever-action rifle Winchester has produced, designed to handle the increased pressures generated by the more powerful smokeless powder cartridges entering common use at the time of its introduction. By today's standards however, the design is considered relatively weak, and not suited to high pressure loads.


title: Winchester Model 1895

text: Around serial number 5000, a new receiver profile was introduced which had fluted (scalloped) sides, as opposed to the original flat sided design. This new receiver reduced the weight of the rifle by a small amount, and increased the width by 1/16 of an inch. By serial number 6000, it is thought that the last of the flat sided M1895s left the factory. These early rifles are now exceedingly rare.


title: Winchester Model 1895

text: Between 1915 and 1917 approximately 294,000 M1895's were manufactured for the airforce and police units of the Russian Empire, accounting for about 70% of total production of the rifles prior to 1932 when the M1895 was discontinued. Chambered in 7.62×54mmR, these versions were unusual for a lever-action rifle in that they also had a charger guide, allowing the M1895 rifle to be reloaded by the same charger clips used in the Mosin–Nagant bolt-action rifle. Rifles made for the Russian contract had a longer than standard barrel fitted with an extended forestock and bayonet lug. Initial delivery of the rifles was delayed because adaptation to Russian standards, particularly the charger guide, proved more difficult than expected. Additional delays resulted from incompetent and obstructive Russian inspectors, who refused to use Winchester-made test gauges despite no Russian gauges existing, insisted that test ammunition be shipped from Russia (instead of using readily available Winchester ammunition made on Russian contract), and often rejected rifles for irrelevant flaws such as wood grain in the stock being insufficiently straight. Winchester later sold these rejected rifles on the US commercial market. Russia issued many of their Winchester Model 1895 rifles to troops from Finland and the Baltic states, especially the Latvian Riflemen. At least 9,000 Model 1895 rifles are known to have been provided by the Soviet Union in 1936 to the Spanish Republicans for use in the Spanish Civil War.


title: Winchester Model 1895

text: Other nations adopted the rifle in more limited numbers. The United States ordered 10,000 in caliber .30/40 Krag for the Spanish–American War, but the war ended before they arrived at the front. These rifles were marked "U.S." atop the receiver ring and fitted with stock furniture similar to the M1895 Lee Navy including the short knife-type bayonet. Many parts were marked "K.S.M." by ordnance inspector Kelly S. Morse. One hundred of these rifles were issued to the 33rd Volunteer Infantry for field testing in the Philippine–American War. The report of testing completed on 25 December 1899 stated the Krag–Jørgensen was greatly superior for military service. The remaining 9,900 rifles were sold to M. Harley Company and most were shipped to Cuba in 1906. Some of these rifles found their way to Mexico, where they were favored by Pancho Villa’s troops during the Mexican Revolution.


title: Winchester Model 1895

text: Theodore Roosevelt also personally purchased an M1895 Winchester in .30 Army (.30-40 Krag) during the same timeframe. The Model 1895 in .30 Army was also entered into an 1896 New York National Guard rifle contract competition, but finished second to the Savage Model 1895 due to the Winchester rifle lacking a magazine cutoff and magazine counter. Winchester strongly disputed the results of the contest, arguing that the competition had been rigged in Savage's favor, and the ensuing political controversy led to the cancellation of the contract.


title: Winchester Model 1895

text: As with previous Winchester rifles, a new serial number range was launched with the M1895, beginning with serial number 1. Including military contract rifles, a total of 425,881 rifles were produced, with production ceasing at serial number 425,132. The standard barrel length varied from 24 to 28 inches, depending on chambering and configuration, and the standard finish on all rifles was blue.


title: Winchester Model 1895

text: The rifle is most commonly associated today with former President Theodore Roosevelt; however, it was also used by many other famed hunters and adventurers, to include Martin and Osa Johnson, Charles Cottar, and author Stewart Edward White. Garrit Forbes—hunting companion of W. D. M. Bell, first cousin of Franklin D. Roosevelt, and long time personal friend of gun writer and firearms enthusiast Elmer Keith—recommended the M1895 in .405 Winchester to Theodore Roosevelt.


title: Winchester Model 1895

text: Theodore Roosevelt took two M1895 rifles with him on his 1909 safari to East Africa, both in .405 Winchester. Additionally, Kermit Roosevelt accompanied his father on the trip and brought two more M1895 rifles; one was chambered in .405 Winchester, and the other in .30-03 Springfield. While the serial number of Kermit's .30-03 has been lost, the serial numbers of the three .405 rifles are known to have been 63727, 63736, and 68180. Theodore Roosevelt praised the .405 M1895 in his book "African Game Trails", famously referring to this rifle as his "'medicine gun' for lions":


title: Winchester Model 1895

text: Although it is often said that Roosevelt called the .405 M1895 his "big medicine," this phrase is never used in "African Game Trails", and is possibly the erroneous combination of his "medicine gun" quote with his "big stick" speech of 1901.


title: Winchester Model 1895

text: Kenneth Anderson, who was a writer and hunter, used his .405 Winchester during his shooting expeditions.


title: Winchester Model 1895

text: The Model 1895 in both its rifle and carbine configuration was popular with the Texas Rangers and Arizona Rangers in both the .30-40 Krag and .30-06 Springfield calibers.


title: Winchester Model 1895

text: In 1985, the Browning Arms Company reintroduced the M1895 rifle in .30-06 Springfield. Later in 2001, Winchester reintroduced the rifle during the 100 year anniversary of Theodore Roosevelt's presidential administration, offering it again in .405 Winchester, as well as .30-06 Springfield and .30-40 Krag since its reintroduction. In 2008 Winchester produced a pair of Theodore Roosevelt commemorative rifles. In 2009 an additional pair of rifles was offered commemorating Roosevelt's African Safari in 1909 after leaving office.


title: Winchester Model 1895

text: Both the Browning and new Winchester rifles are made in Japan by Miroku. The Winchesters, however, differ from the original design in that they feature rebounding hammers and a tang safety. Their triggers are also shaped differently, so they cannot be fitted into an original rifle.


title: Mannlicher M1895

text: The Mannlicher M1895 (, ; "Infantry Repeating-Rifle M95") is a straight pull bolt-action rifle, designed by Ferdinand Ritter von Mannlicher that used a refined version of his revolutionary straight-pull action bolt, much like the Mannlicher M1890 carbine. It was nicknamed the "Ruck-Zuck-[Gewehr]" by Austrian troops (ruck-zuck spoken as "roock-tsoock", in common language meaning "back and forth [rifle]") and "Ta-Pum" by Italian troops who wrote a song about it during World War I. The primary producers were the OEWG in Steyr, and FÉG in Budapest.


title: Mannlicher M1895

text: Originally they were chambered for the round-nosed 8×50mmR cartridge, but almost all were rechambered to accept the more powerful spitzer 8×56mmR cartridge in the 1930s.


title: Mannlicher M1895

text: The M1895 is unusual in employing a straight-pull bolt action, as opposed to the more common rotating bolt-handle of other rifles. It combines a two lug rotating bolt head, similar in construction to that found on a Mauser rifle with a pair of helical grooves cut in the bolt body to turn the back and forth movement of the bolt handle and body into the rotational movement of the bolt head. The extractor performs both the usual function, and also has a tail attached which interfaces with slots on the cam surfaces of the bolt head to prevent the bolt head from rotating as a result of the striker's spring pressure once it has been unlocked.


title: Mannlicher M1895

text: The angle of the cam surfaces in the bolt and bolt body is different from the angle at which the locking recesses are cut in the receiver of the rifle, the result is that the first 20 mm of travel of the bolt body results in the rotation of the bolt head but only about 3 mm of rearward movement, this gives mechanical advantage to the system and accomplishes primary extraction.


title: Mannlicher M1895

text: The result of this is that the user can pull the bolt back and forth in two movements rather than the up-back-forward-down of conventional turn bolt rifles. It is consequently renowned for combining relatively high rate of fire (around 20–25 rounds per minute) with reliability and sturdiness, although this requires decent care and maintenance. During Austro-Hungarian trials in 1892, rifles survived torture testing of firing 50,000 rounds without any form of lubrication.


title: Mannlicher M1895

text: The rifle is loaded by means of a five-round en-bloc clip, which when loaded with cartridges, is pressed into the magazine of the rifle, where it is retained and acts at the feed lips of the magazine. When the last of the five rounds has been chambered, there is no longer anything retaining the clip in the magazine and it falls out a port in the bottom due to gravity. There is a button in the front of the trigger guard which allows the user to eject a partially or fully loaded clip from the magazine when the bolt is open to unload the weapon. The clip will be ejected from the weapon quite energetically as the full force of the follower spring will be pressing against it.


title: Mannlicher M1895

text: The rifle is not designed to be loaded by any other means but the en-bloc clip. Attempts to single feed the rifle in absence of proper clips may cause damage to the extractor as it is not designed with enough travel to overcome the large rims of the 8x50mmR and 8x56mmR cartridges used in the M1895 unless they are fed under the extractor from the clip.


title: Mannlicher M1895

text: It was initially adopted and employed by the Austro-Hungarian Army throughout World War I, and retained post-war by both the Austrian and Hungarian armies. The main foreign user was Bulgaria, which, starting in 1903, acquired large numbers and continued using them throughout both Balkan and World Wars. After Austria-Hungary's defeat in World War I, many were given to other Balkan states as war reparations. A number of these rifles also saw use in World War II, particularly by second line, reservist, and partisan units in Romania, Yugoslavia, Italy, and to lesser degree, Germany. Post war many were sold as cheap surplus, with some finding their way to the hands of African guerrillas in the 1970s and many more being exported to the United States as sporting and collectible firearms.


title: Mannlicher M1895

text: The M1895 bolt also served as an almost exact template for the ill-fated Canadian M1905 Ross rifle, though the later M1910 used a complicated interrupted-thread instead of two solid lugs.


title: Mannlicher M1895

text: The M1895 was originally chambered in the 8mm M.1893 scharfe Patrone (8×50mmR Mannlicher) cartridge. Between the world wars, both Austria and Hungary converted the majority of their rifles to fire the more powerful 8×56mmR round.<br>Yugoslavia converted at least some of their captured M1895s to 7.92×57mm Mauser, fed by stripper clips instead of the original model's en bloc clip system. This conversion was designated M95/24 and M95M. The M95/24 is often mistakenly attributed to Bulgaria, but 8×57mm IS was never a standard cartridge of the Bulgarian military. These conversions are prized by collectors for their relative scarcity and chambering in a commonly available round, but suffer from a fragile extractor and a lack of replacement parts.


title: Mannlicher M1895

text: The "Infantry Repeating-Rifle M1895" () was the basic variant. It was chambered for the 8×50mmR Mannlicher cartridge. Its iron sights were graduated 300–2600 paces (225–1950 m). It was used during World War I by the majority of the Austro-Hungarian Army troops.


title: Mannlicher M1895

text: This stutzen or short rifle (official designation ; "Repeating-Stutzen M1895") was mainly used by special troops (i.e. storm troops) during World War I. It chambered the 8×50mmR Mannlicher cartridge. Its sights were graduated 500–2400 paces (375–1800 m).


title: Mannlicher M1895

text: The carbine (official designation ; "Cavalry Repeating-Carbine M1895") was chambered 8×50mmR Mannlicher and used by cavalry units of the Austro-Hungarian Army as a replacement of the Mannlicher M1890 carbine. The sights were graduated 500–2400 paces (375–1800 m). Although it originally didn't have bayonet lugs, during World War I it was fitted with stutzen-like front barrel band with bayonet lugs after mounted cavalry units were found ineffective.


title: Mannlicher M1895

text: The main difference from the standard rifle and sniper was the telescopic sight mount. The scope was mounted slightly to the left so the rifle could be fed by the en-bloc clip. Approximately 6,000 long and short barreled sniper rifles were made in the years 1915–1918.


title: Mannlicher M1895

text: The M95/30 was a conversion in the First Austrian Republic by Steyr-Mannlicher during 1930–1940. These rifles carry the letter S meaning Spitzer stamped on the barrel. Main modification was the rechambering to 8×56mmR cartridge. Other changes were the conversion of ladder sights from the older pace unit to meters and addition of a brass front sight protector. Many long rifles were cut down to Stutzen length. Most of M95/30s were sent to Bulgaria during 1938–40, where front sight protectors were removed.


title: Mannlicher M1895

text: The 31.M or M95/31 was a conversion done in the Kingdom of Hungary. Rifles were converted 1931–1935 by FÉG in Budapest and carry the letter H meaning Hegyes Töltény (pointed bullet) stamped on top of the chamber. The conversion included rechambering to the new 8×56mmR pointed bullet cartridge, new metric ladder sights and the addition of a front-sight protector. Long rifles were cut down to carbine length and designated 31/a.M. They were not used for much time and were withdrawn to storage when the new 35M rifle was introduced. Some were reissued during World War II. A small number were rechambered but were not cut down for the Hungarian Governmental Guards; these had special long bayonets.


title: Mannlicher M1895

text: The M95M or M95/24 was a conversion to 7.92×57mm cartridge by the Kragujevac Arsenal in the Kingdom of Yugoslavia. These rifles feature Yugoslavian M24 Mauser barrels, sights, similar handguards and are fed by five-round stripper clips. Their extractors are prone to breakage when being fired single-shot. Some of these rifles were found in the Kingdom of Greece by the German forces during World War II and were mistakenly attributed Greek origin.


title: Mannlicher M1895

text: There were two main variants of the bayonet; the first one was the standard bayonet, the second one was the NCO variant that featured a hooked quillion and a golden lanyard. The overall length was and the blade was long. The bayonet was unusual in that the edge faced upwards when mounted on the rifle. Majority of them were made by Œ.W.G. and F.G.GY. Bayonets were originally not serial numbered.


title: Mannlicher M1895

text: Late in World War I resources were limited and they started manufacturing "replacement" () bayonets. These were fast to produce, cheap and made completely out of metal.


title: Mannlicher M1895

text: A number of Model 1916 night (Luminous) sights were issued during World War I. The rear night sight is a small brass plate that is placed underneath the rear sight leaf. The front sight clamps around the rifle's front sight base.


title: Mannlicher M1895

text: A "Drahtzerstörer" or "wire destroyer" device for Mannlicher type firearms was also sometimes issued with the rifle during World War I. During assaults, when soldiers would run into barbed wire obstacles, the "wire destroyer" would grab one of the wires and the soldier would shoot through it. It could only be used with a mounted bayonet.<br>


title: Mannlicher M1895

text: Various other improvised wire destroyers existed, some originally designed for the Mosin–Nagant rifle that were captured on the Eastern front were easily modified to fit the M95. Some were also crafted by military blacksmiths.


title: Wellington Phoenix FC

text: Wellington Phoenix Football Club is a professional association football club based in Wellington, New Zealand. It competes in the Australian A-League, under licence from Football Federation Australia. Phoenix entered the competition in the 2007–08 season after its formation in March 2007, by New Zealand Football to replace New Zealand Knights as a New Zealand-based club in the Australian A-League competition. The club is one of the few clubs in the world to compete in a league of a different confederation (AFC) from that of the country where it is based (OFC).


title: Wellington Phoenix FC

text: The club's highest achievement is reaching the A-League Preliminary Final in 2010. The club plays matches at Sky Stadium (formerly Westpac Stadium), a 34,500-seat multi-purpose venue in Wellington. Their home kit consists of black and yellow stripes.


title: Wellington Phoenix FC

text: During the later stages of the 2006–07 A-League season, Football Federation Australia (FFA) removed New Zealand Knights A-League licence due to the club's financial and administrative problems and poor on-field performance. After the resignation of the New Zealand Knights board, FFA transferred the licence to New Zealand Soccer (NZS, now New Zealand Football), which administered the club for the rest of the season before its subsequent dissolution.


title: Wellington Phoenix FC

text: FFA then provided NZS a provisional A-League licence to sub-let to a suitable New Zealand team to enter the 2007–08 A-League season. FFA set an application deadline to NZS and subsequently delayed that deadline to give more time for potential applicants in New Zealand to apply along with NZS support.


title: Wellington Phoenix FC

text: While NZS was given a chance to apply with a new sub-licensee, a Townsville-based consortium, Tropical Football Australia (TFA) also expressed interest and prepared an A-League application to replace the place previously held by the Knights. However, TFA eventually pulled out with the understanding of the FFA's preference to retain a New Zealand team for the league. TFA resubmitted its bid the following year as a potential A-League expansion franchise under the name "Northern Thunder FC", which was later changed to "North Queensland Thunder"; however, this bid died after expansion for the 2007–08 season was cancelled.


title: Wellington Phoenix FC

text: After much delay, the final amount needed for the application came from Wellington property businessman Terry Serepisos in the latter stages of the bid. Serepisos, the club's majority owner and chairman, provided NZD $1,250,000 to ensure the beginnings of a new New Zealand franchise and a continuation of New Zealand's participation in the A-League. FFA finalised a three-year A-League licence to New Zealand Football who then sub-let the licence to the Wellington-based club. The new Wellington club was confirmed on 19 March 2007.


title: Wellington Phoenix FC

text: The name for the new club was picked from a shortlist of six, pruned from 250 names suggested by the public, and was announced on 28 March 2007. Serepisos said of the name, that "It symbolises the fresh start, the rising from the ashes, and the incredible Wellington support that has come out".