title: Agents of S.H.I.E.L.D. (season 2)

text: The season confirms that the blue alien seen in the first season, and a recurring plot point this season, was a member of the Kree race, who play a significant role in "Guardians of the Galaxy". Whedon explained that "We obviously showed this body a year ago at around this time. When we were breaking that and sussing out what this arc would be, we had to have a lot of the pieces in place from the get go ... we had to talk to features about what their plans were and where they were going." When asked whether this counts as the series tie-in to "Guardians of the Galaxy", Whedon said "It is a very far away other galaxy, so it's a little bit harder to have one of them walk into our set, so a direct tie-in is a little bit more challenging, but it's all one universe, so there's always opportunity for more. ... In "Guardians", we saw parts in our universe that we hadn't explored yet, so it shows we're a part of that too." This storyline also introduces the Inhumans to the MCU, ahead of their own film that was planned.


title: Agents of S.H.I.E.L.D. (season 2)

text: At the end of the season, Bell stated on the way that the season had tied in with the films, "we got to be our own show and tell our own stories in the Marvel Cinematic Universe and do a nice hand off or a tie-in, but neither are incumbent upon the other to be a follow, and I think that's a great model for us."


title: Agents of S.H.I.E.L.D. (season 2)

text: At the 2014 San Diego Comic-Con, ahead of the premiere of the season, Marvel Custom Solutions and Lexus released a limited single-issue comic tie-in titled "", set between the season 1 episodes "Seeds" and "T.R.A.C.K.S.", written by George Kitson, and with art by Mirko Colak, Neil Edwards, and Mirco Pierfederici. On October 10, 2014, "Face My Enemy" was screened at New York Comic Con.


title: Agents of S.H.I.E.L.D. (season 2)

text: For the final twelve episodes of the season, Marvel once again ran the "Art of..." initiative, in which a different image was released each Thursday before a new episode, depicting a first look at a key event from the upcoming episode, with the season's title being "The Art of Evolution". The different artists were once again chosen to create the teaser posters, based on their previous work and how it connected to the themes and emotion of the intended episode. On how what is shown on each poster is chosen, Bell said, "maybe we'll show [the artist] the script or let them watch the episode and let them respond to it emotionally and see what's interesting to them. And then we have a conversation with them about how we'd like to portray that, and then we try to lean into the strengths that they have. Some are more graphic, some are more character based, some are more composite, and some are cleaner. And that's one of the things [the producers] really look forward to each week, getting the initial sketches back from the artists and seeing their interpretation." The art once again appeared as variant covers to select titles published by Marvel Comics in June 2015.


title: Agents of S.H.I.E.L.D. (season 2)

text: The poster for "Aftershocks", created by Gabriele Dell'Otto, the co-creator of Daisy Johnson, depicts Skye twice, as she is transforming from the Terrigen mist and as the person dealing with her powers, as well as a transformed Raina, Coulson and the S.H.I.E.L.D. logo in the background. For "Who You Really Are", the producers enlisted Marcos Martín to create the poster, which highlighted Sif's (Jaimie Alexander) return to the show, as well as an "inside look" at S.H.I.E.L.D. as the logo crumbles, with Skye in the center of it, ambiguously leaving the viewer questioning if the logo was crumbling due to Sif's sword, or Skye's powers. The third poster, for "One of Us", was created by Declan Shalvey and Jordie Bellaire. It features muted colors and shows "Coulson surrounded by villains [from the S.H.I.E.L.D. index], and the giant Cal looming over, and [a bird and] S.H.I.E.L.D. behind him." Annie Wu was brought on for the "Love in the Time of Hydra" poster, which shows Grant Ward holding a woman, though depicts her as two; one drawn in red, the other in blue – "half of that goes to Agent 33, who has two faces... And it also goes to the fact that she's been imitating other people as she did with Agent May."


title: Agents of S.H.I.E.L.D. (season 2)

text: "One Door Closes", an episode focused on Bobbi Morse's history, received a poster of her with the "real S.H.I.E.L.D." logo, that "embraced the basics" of four-color printing, utilizing magenta, cyan, black and yellow, while still having layers and complications, much like the character of Morse. The poster was designed by Delicious Design League. The poster for "Afterlife" by Dave Johnson, highlights the divide within S.H.I.E.L.D. and the alliances on each side. With Coulson in the middle, Agents Gonzales, Morse, Mackenzie and Weaver stem from the "real S.H.I.E.L.D.", while Hunter, Fitz and Simmons stem from the other. "Melinda"s poster, by Jenny Frison, mirrored the focus of the episode by prominently featuring an image of May, highlighting her backstory and why she is called "the Cavalry". Marvel teamed with Nathan Fox on the poster for "The Frenemy of My Enemy", which depicts Ward, Kara, and Bakshi in "Hydra red"; Coulson, Hunter, and Fitz in "S.H.I.E.L.D. blue"; and Deathlok neutral. They are all featured together, just as the season is "starting to put [all of its plotlines] together in new combinations in new ways, [to] propel us into the last four episodes."


title: Agents of S.H.I.E.L.D. (season 2)

text: As alluded to by the episode title, the poster for "The Dirty Half Dozen", with art by Jake Wyatt, sees the original recruits to Coulson's S.H.I.E.L.D. team from the first season (May, Ward, Fitz, Simmons and Skye), along with Coulson, together once again, suiting up for a mission together; it is also the first poster of the "Art of..." series to feature the episode title on the poster. Marguerite Sauvage provided the poster for "Scars", which prominently features Jiaying and her scars in a way that the series cannot do with special effects, while also depicting Skye near the former's stomach to cement the maternal connection between them. For Part One of the season finale, "S.O.S", Ryan Sook's poster hints at Cal's transformation into the Mr. Hyde persona from the comics, in an homage to traditional comic book covers. For Part Two, artist Joshua Budich brought together all of the main players of the season, divided into Coulson and his team, and those who served as antagonists to them throughout the season (though not necessarily villains), with Skye and some Terrigen crystals in the middle, pointing to Skye's confused allegiances and the importance of the crystals in the finale.


title: Agents of S.H.I.E.L.D. (season 2)

text: In June 2014, Clark Gregg stated he believed the season would be shown in a block of 10 episodes, then breaking for "Agent Carter", before airing the remaining 12. Explaining this decision, Bell said, One of our challenges last year was to produce 22 episodes that aired over, what, 40 weeks? 36 weeks? Something like that. And the age of re-runs is dead. Re-runs are death, and so you're trying to commit to the habit of the show and [viewers] tune in to something else or a re-run and they'll get pissed off. They'll go away. What this allows us to do is minimize repeats. We're showing ten episodes, and there has to be a gap or two because it's physically impossible to produce ten shows and get through post production in time, we can't do that so there's going to be a Marvel special at some point. But pretty much every week you're showing up and we're there, and then instead of a repeat showing up mid-run and losing momentum, "Agent Carter" comes in and has its own cool stuff, and they're running eight weeks in a row, then we can come back and run twelve in a row with no interruptions. We're still producing our show every week but it just gives us time, barely, to finish 22 on schedule. It takes out the need for repeats in the back half.


title: Agents of S.H.I.E.L.D. (season 2)

text: The season began airing on September 23, 2014, on ABC in the United States, and on CTV in Canada, and concluded on May 12, 2015. In Australia, the season debuted on September 29, 2014, on Seven Network, while Channel 4 in the United Kingdom premiered the season on October 24, 2014.


title: Agents of S.H.I.E.L.D. (season 2)

text: The season began streaming on Netflix in the United States on June 11, 2015, and was available until February 28, 2022. It was released on Blu-ray and DVD as an Amazon.com exclusive on September 18, 2015. It became available on Disney+ in the United States on March 16, 2022, joining other territories where it was already available on the service.


title: Agents of S.H.I.E.L.D. (season 2)

text: The season averaged 7.09 million total viewers, including from DVR, ranking 76th among network series in the 2014–15 television season. It also had an average total 18-49 rating of 2.7, which was 32nd.


title: Agents of S.H.I.E.L.D. (season 2)

text: The review aggregator website Rotten Tomatoes reports a 91% approval rating with an average score of 7.66/10, based on 33 reviews. The website's consensus reads, ""Marvel's Agents of S.H.I.E.L.D." relaxes into itself during its sophomore season, mitigating the show's growing pains by focusing on characters while amping up narrative thrills."


title: Agents of S.H.I.E.L.D. (season 2)

text: Marc Buston for "Den of Geek" scored the premiere episode 4.5 stars out of 5, feeling that the series had finally reached its potential by incorporating Marvel elements such as Creel and Whitehall, while also creating a darker tone and developing the original characters. He specifically highlighted the changes made to Fitz' character, saying "This lair of tragedy greatly deepens Fitz's character and gives the comic relief of last season a heartbreaking edge." James Hunt, also for "Den of Geek", gave a positive review as well, stating "The momentum of last season's finale hasn't been lost, and indeed, it's even been added to. Last year I criticised the pilot episode for, above all else, failing to recreate the feel of the Marvel Cinematic Universe. This year, it's only fair that I praise the season opener for doing exactly that." Kevin Fitzpatrick at Screen Crush called the premiere "unexpectedly good", noting that the series "remains as serialized a show as it can over 22 episodes", introducing new and interesting ideas for the rest of the season, while also setting a high standard for subsequent episodes to meet.


title: Agents of S.H.I.E.L.D. (season 2)

text: Alan Sepinwall at HitFix called the episode a promising start to the season, "a fairly lively hour in spite of [a lot of exposition], helped by some good casting and smart creative choices". He was positive about both the changes to the existing characters and the introduction of the new ones, and though he noted that the opening sequence was "itself a piece of brand extension — early promotion for "Agent Carter"," he felt that "Links to the rest of the Marvel [Cinematic U]niverse are always welcome when they're in service to the story the show is telling". Eric Goldman of IGN scored the episode an 8.3 out of 10, praising the visual style, which he called "less glossy" than previous episodes, as well as the introduction of new characters and development of old ones, especially the introduction of Carl Creel and the "nicely done FX showing off his power". Oliver Sava of "The A.V. Club" graded the episode a 'B−', feeling that "With a clearly defined villain and mission statement, this show's second season is already off to a better start than its first year, but there's still plenty of room for the series to grow. The scripts could use more energy, the action could be better choreographed, and it could use a huge injection of style for both the visual and audio elements. There's so much potential in "Agents Of S.H.I.E.L.D." ... but the show's creators aren't fully exploring it yet."


title: Agents of S.H.I.E.L.D. (season 2)

text: At the end of the season, Goldman graded it an 8.2 out of 10, saying the season "found the show much-improved, as it moved faster and delved deeper into the Marvel Cinematic Universe." Compared to the first season, Goldman felt the "pacing was hugely improved, with storylines no longer taking forever to bubble up again and secrets no longer being kept both from the audience and the characters," with content from the first season being resolved, while still introducing new plot lines and mysteries to play out over the season. He also praised the characterization improvement and called the season "less restrained" in connecting to its comics roots. While he appreciated the new characters that join the series, specifically MacLachlan's portrayal of Cal, he felt Triplett was "never fully utilized", which made his death in the midseason finale less impactful. Additionally, Goldman criticized the tie-in to "Age of Ultron", calling it "forced" and distracting from the Inhuman/S.H.I.E.L.D. 2.0 storylines. Nick Hogan at TV Overmind rated the season 9 out of 10 stars, calling it, "for the most part, a very enjoyable season of television." Hogan praised that cast and characters, particularly MacLachlan's portrayal of Calvin Zabo, saying "He had perhaps the strongest character arc of anyone this season, and it was such a pleasure to watch." He did criticize some of the story direction, feeling that it took a while for the Inhumans to connect to the rest of the series, and that the way the "Age of Ultron" tie-in concluded the S.H.I.E.L.D. vs. S.H.I.E.L.D. storyline was "rushed and choppy".


title: Agents of S.H.I.E.L.D. (season 2)

text: The season's introduction of the Inhumans and apparent willingness to establish new norms ahead of the films has been highlighted by critics:


title: Agents of S.H.I.E.L.D. (season 2)

text: Sava felt that having the series introduce the race made "Agents of S.H.I.E.L.D." "an essential part of Marvel Studios' bigger plans for the future", explaining that "the series has become more and more connected to the larger MCU since "Captain America: The Winter Soldier", but it's always been in a reactive role. Stuff happens in the movies, and "Agents Of S.H.I.E.L.D." deals with the fallout. Not anymore. This show is making things happen, and these events will clearly impact the future of the MCU because we know there's an "Inhumans" movie planned for 2019." Sava also mentioned that introducing the Inhumans "on a personal level rather than a cosmic level" via the television series makes "the whole idea a bit easier to swallow" for the general MCU audience.


title: Agents of S.H.I.E.L.D. (season 2)

text: Merrill Barr of "Forbes" thought that by not only introducing the Inhumans ahead of the film, but by depicting the spreading of the race throughout the world, was part of the series cementing its "right to exist" apart from the films. Talking about the season finale, Barr said, ""S.H.I.E.L.D." does a most excellent job of standing on its own two feet in a way we've never seen it do before. Come the final frame, all anyone – Marvel fan or otherwise – will be asking is when season three begins. The note the show leaves viewers on is one that will make them realize, perhaps for the first time, that the journey of "Agents of S.H.I.E.L.D." is not only worth it now, but perhaps always has been."


title: Kristoff (Frozen)

text: Kristoff Bjorgman is a fictional character in Walt Disney Animation Studios' "Frozen" franchise. He appeared in the animated features "Frozen" (2013) and "Frozen II" (2019), and the animated short films "Frozen Fever" (2015) and "Olaf's Frozen Adventure" (2017). He is voiced primarily by Jonathan Groff.


title: Kristoff (Frozen)

text: Kristoff is a Sámi iceman who lives together with his reindeer companion Sven. Albeit preferring a solitary life, he helps Princess Anna of Arendelle to find her older sister Elsa in the North Mountain.


title: Kristoff (Frozen)

text: In the early development, Kristoff was originally Kai as in Hans Christian Andersen's "The Snow Queen", but later he was designed as combination of Kai and the robber girl.


title: Kristoff (Frozen)

text: Kristoff is tall, rugged, handsome, and in his early twenties. His build is a distinct variation on most Disney heroes. He has broad shoulders, large hands and feet, and a muscular build. He is significantly larger than Princess Anna. His build is a realistic consequence of his rough life as a mountain-dwelling ice harvester.


title: Kristoff (Frozen)

text: Kristoff is the first major character to appear in the movie, appearing in "Frozen Heart" as an eight-year-old orphan boy with his baby reindeer, Sven, who becomes his best friend. He attempts to mimic the elder ice harvesters with mixed success. Later that night, Sven is pulling him through the woods when the two horses belonging to the royal family of Arendelle ride past him at speed while transporting Anna to the trolls. Kristoff becomes intrigued as one of them is leaving behind a trail of ice (as that horse is carrying a distraught Elsa). From a distance, Kristoff watches as Pabbie, leader of the trolls, heals Anna's head. Meanwhile, one of the female trolls, Bulda, adopts Kristoff as her own child.


title: Kristoff (Frozen)

text: Thirteen years later, Kristoff is a seasoned ice harvester by trade who lives in the mountains near Arendelle. Prior to the coronation he is briefly seen in Arendelle selling ice and sharing a carrot with Sven. He next appears at Wandering Oaken's Trading Post & Sauna, arriving at the same time as Anna covered in snow and seeking to purchase carrots for Sven and rope for climbing. From Kristoff's exchange with Oaken, Anna learns that the blizzard in Arendelle comes from the North Mountain and assumes that is where Elsa is hiding. However, Kristoff is thrown out of the store for calling Oaken a crook. Seeing that Kristoff has a sled, Anna buys all of his items and urges him to take her to the North Mountain. Kristoff is reluctant to help her at first but eventually gives in.


title: Kristoff (Frozen)

text: As Anna and Kristoff head for the North Mountain, Kristoff is incredulous learning about her whirlwind engagement to Hans. The conversation is cut short when their sled is attacked by hungry wolves. The group escape, though at the cost of Kristoff's sled, to his dismay. He decides to continue helping Anna despite this setback, and the next day they meet Olaf, an anthropomorphic snowman unknowingly created by Elsa, who leads them the rest of the way to Elsa's ice castle. Kristoff waits outside while Anna tries to persuade Elsa to go back to Arendelle, believing Elsa can put an end to the winter. When Anna fails to persuade Elsa and accidentally gets hit in the heart, Kristoff knows whose help to seek and takes Anna to the trolls. The trolls initially assume Kristoff is introducing Anna to his family as his bride-to-be, but Kristoff corrects them and asks to speak to Pabbie. Regarding the ice in Anna's heart, Pabbie says only "an act of true love" can save her. Thinking a "true love's kiss" from Hans is needed, Kristoff takes Anna back to Arendelle and sadly hands her over to the care of the castle staff at the gate.


title: Kristoff (Frozen)

text: On the way back into the mountains, Sven attempts to push Kristoff back to Arendelle but he refuses, thinking it is selfish to pursue his love instead of letting Anna be saved by Hans. However, a giant snowstorm appears over Arendelle, prompting him to return out of concern for Anna's safety. There he eventually finds Anna, but Anna chooses to save Elsa from Hans instead of running to Kristoff. Kristoff has to watch Anna freeze solid, though moments later he is overjoyed as Anna's self-sacrifice counted as "an act of true love" and caused her to unfreeze. In the end, he is named Royal Ice Master and Deliverer and receives a new sled from Anna as promised, and the two share a kiss.


title: Kristoff (Frozen)

text: In the short film "Frozen Fever", Kristoff helps Elsa plan a surprise birthday party for Anna. While taking Anna on a birthday treasure hunt throughout the kingdom, Elsa comes down with a cold and unknowingly creates little snowmen called "snowgies" with each sneeze, which create trouble for Kristoff, Sven, and Olaf. Kristoff and Olaf later take the snowgies up to Elsa's ice palace to live with Marshmallow.


title: Kristoff (Frozen)

text: Kristoff appeared in a 21-minute holiday film along with Anna, Elsa, Olaf, and Sven, which debuted in theaters for a limited time engagement with Disney·Pixar's "Coco" on November 22, 2017. It made its television debut on ABC on December 14, 2017. Like the rest of Arendelle (save for the royal family), it is revealed that Kristoff has his own holiday tradition, this being an annual celebration honoring Flemmingrad, a jolly fungus troll that was tragically killed by humans.


title: Kristoff (Frozen)

text: In the 2019 movie, Kristoff plans to propose to Anna, but his attempts to find the right moment repeatedly fail. He and Sven accidentally become separated from Anna, Elsa, and Olaf, and he forlornly wonders whether he and Anna are growing apart. During the final battle he hears Anna agitating the jötunn and comes to her assistance. After the dam is destroyed, Kristoff, Anna, and Sven are reunited with Elsa and learn that Arendelle was saved from the torrent. After Olaf is brought back to life, Kristoff finally asks Anna to marry him, calling her the most extraordinary person he has ever known. Anna happily accepts.


title: Kristoff (Frozen)

text: From July 5 to September 1, 2014, as part of "'Frozen' Summer Fun" show at Disney's Hollywood Studios, Anna and Elsa appeared in a horse-drawn sleigh making their way down Hollywood Boulevard, alongside Kristoff and skaters, skiers and ice cutters in the "Anna and Elsa's Royal Welcome" section. The sisters will also make appearances in "", where they are joined by royal historians to retell the history of Arendelle; and ""Frozen" Fireworks Spectacular" alongside Kristoff and Olaf, a fireworks display set to the music of "Frozen". Officially starting January 7, 2014, Kristoff began making appearances alongside Anna and Elsa at Disney California Adventure in "For the First Time in Forever – A Frozen Sing-Along Celebration" in Hollywood Land as part of the park's "Frozen Fun" event.


title: Kristoff (Frozen)

text: "Collider" writer Matt Goldberg commented that Kristoff was "slightly less interesting than his love-interest (Anna)", but the cuteness of Anna and Kristoff’s relationship compensates the defect.


title: Bali United F.C.

text: Bali United Football Club is a professional football club based in Gianyar, Bali, Indonesia. The club competes in the Liga 1, the top tier of Indonesian football. Bali United emerged in 2015 as the result of the total rebranding of Indonesia Super League club Putra Samarinda (popularly known as Pusam) after its new owner relocated the club to Gianyar from Samarinda, East Kalimantan. The rebranded club retained Putra Samarinda's top-tier rights to compete in the 2015 Indonesia Super League season. It only took four years for the club to win its first top-level football championship title in the 2019.


title: Bali United F.C.

text: Bali United was the first professional football club in Indonesia and Southeast Asia, also second in Asia after Guangzhou Evergrande, to be publicly traded after its shares were offered through the Indonesia Stock Exchange on 17 June 2019. PT Bali Bintang Sejahtera Tbk released as much as 2 billion shares of the total issued and paid up capital after the initial public offering (IPO). Shares were set to go on sale for between IDR 120 and IDR 180 each, and actually became IDR 175 by the launch of the IPO on 10 June.


title: Bali United F.C.

text: After the 2014 Indonesia Super League season ended, Putra Samarinda owner Harbiansyah Hanafiah decided to sell the club to businessman Pieter Tanuri who relocated the Borneo club to Gianyar, upon noticing the affluent island of Bali had no representative in the top-flight of Indonesian football after the 2013 dissolution of Indonesia Premier League (IPL) club Bali Devata FC after the controversial IPL league stopped. Tanuri, who co-owns tiremaker Multistrada Arah Sarana, chose Gianyar because Bali Devata used a mid-size stadium there called the Kapten I Wayan Dipta Stadium and the regency is strategically located at the center of the island, rather than the coasts where most foreign tourists flock. The new owner wanted the club to attract the local Balinese fans from all corners of the island and rise as the pride of Bali. To achieve that, Tanuri also totally rebranded the club to an outfit that carries the Balinese identity, starting by renaming it Bali United Pusam Football Club with colors and a crest that pay homage to the unique culture in Bali.


title: Bali United F.C.

text: Eventually, the Pusam historical tag was dropped when Bali United began to be considered as an elite club in Indonesia with the most professional management under the direction of Pieter Tanuri's brother Yabes Tanuri.


title: Bali United F.C.

text: Bali United started its foray into top-flight Indonesian football in the 2015 season of the Indonesian Super League. However, the season was discontinued only after the rebranded club played two games amid the conflict between the Indonesian government and the country's football association PSSI that also led to a FIFA suspension on all association football activities in Indonesia from May 2015 to May 2016.


title: Bali United F.C.

text: Bali United in late 2016 finished their first full season in an unauthorized league that tried to fill the gap left by the dissolved Indonesia Super League, the 2016 Indonesia Soccer Championship A. They finished 12th out of 18 teams, a respectable result for a new club.


title: Bali United F.C.

text: In the first Liga 1 season in 2017, Bali United struggled in their first two matches, leading to the sacking of head coach Hans-Peter Schaller. His successor, Indonesian national football team legend Widodo Cahyono Putro, managed to make Bali United compete for the title and become the most productive team in the league. However, the controversial decision from organizers to use the head-to-head results in crowning the Indonesian Police club Bhayangkara despite it having the same exact points with Bali United dashed the hopes of a fairy-tale ending.


title: Bali United F.C.

text: Being runner-up of the 2017 season, Bali United in 2018 competed in an AFC competition for the first time in their history. The club made their debut in the AFC Champions League on 16 January 2018 with a 3–1 win over Tampines Rovers in the preliminary stage round 1, but failed to reach the group stage after losing 1–2 to Chiangrai United in the preliminary stage round 2.


title: Bali United F.C.

text: They also debuted in the AFC Cup where they were eliminated in the group stage after only finishing fourth.


title: Bali United F.C.

text: Their bad streak continued in the league. A controversy occurred when coach Widodo resigned the day before a key match against Persija, triggering supporters to light flares throughout the match as a symbol of protest against the management. They finished the 2018 season in the 11th spot.


title: Bali United F.C.

text: In another twist, Widodo was replaced by the triumphant Persija coach in that controversial match, Brazilian Stefano Cugurra, who led Persija to win the 2018 title. In his first season at Bali United, Cugurra took the club to its first Liga 1 title, cementing the club's elite status in Indonesian football. After a decent start in defending its title in the 2020 season, Bali United faced another mid-competition stop after the league was suspended due to the COVID-19 pandemic in March 2020.


title: Bali United F.C.

text: Since its 2015 launch, Bali United have always played in red when at home and white for most away matches, with a black third kit. The colours are based on the Balinese Hinduism sacred tri-color, "Tridatu", which then led to its nickname "Serdadu Tridatu" (Tridatu Warriors).


title: Bali United F.C.

text: The club's crest shows the word Bali United on top, with the abbreviation of the club's name (BU) and the black-and-white background that is identical to the checkered "poleng" cloth, which in Bali symbolizes "Rwa Bhineda" or the two opposites that balance the universe. The strong usage of such symbolisms partly explains why Bali United has die-hard fans in the predominantly Hindu island of Bali despite its young age.


title: Bali United F.C.

text: Since the club's foundation, Bali United's kit was self-manufactured. The reason was that by collaborating with an apparel company, the price of the team jersey would soar out of reach from the Balinese masses that support the club. From a business standpoint, it was feared that it could disrupt merchandise sales as no other club in Indonesia had better success in selling authentic jerseys than professional managed Bali United. But after five years, in 2021, their kit will be provided by Mills. Their kit is always filled with multiple sponsors, which make their kit dubbed as a racing jersey. Multistrada Arah Sarana products (Corsa and Achilles tires), Indofood, and YCAB Foundation are the sponsors that always appear on the jersey to this day. Indofood product Indomie was once the sole jersey sponsor of Bali United in the AFC competition in 2018.


title: Bali United F.C.

text: Kapten I Wayan Dipta Stadium in Gianyar, is on a 20-year lease from government of Gianyar Regency. It has been Bali United's home base since the club was formed. Before moving to the stadium, Bali United spent in excess of IDR 5 billion to renovate it to meet the standard of Indonesia Super League. They added a new lighting system, upgraded the dressing rooms, repainted some parts of the stadium, repaired the toilets and upgraded other facilities. The inaugural match for Bali United at their new stadium was a 0–1 defeat over Persib in a friendly match on 3 March 2015. Bali United has continued to upgrade the facility, including adding a store, cafe, and playland around the stadium. They also did some renovations for the Asian competition in 2018 to meet the standard of the AFC.


title: Bali United F.C.

text: A typical Bali United supporter is called "Semeton Dewata"; "Semeton" meaning brother and "Dewata" meaning Bali's nickname, Island of Gods. "Lady Dewata" is the name for their female supporters. "Semeton Dewata" ultras usually fill the east stand of Kapten I Wayan Dipta Stadium. There are other, more exclusive supporter groups. "Northsideboys 12" fill the north stand while "Basudewa Curva Sud" fill the south stand.


title: Bali United F.C.

text: Bali United has three mascots representing the north, east, and south tribunes of Kapten I Wayan Dipta Stadium. Jalbo, stands for "Jalak Boys" and resembles a "Jalak Bali" bird (Bali myna), is the mascot of the Northsideboys 12. The east tribune is represented by Cebol ("Celuluk Bola") that takes shape of a "Celuluk", a mythological creature in Bali folklore. Cebol is a mascot of Semeton Dewata. Basudewa Curva Sud in 2019 introduced a mascot to represent the south tribune called Wabol, which stands for "Waraha Bola". Wabol takes shape of Varaha, a Dashavatara of the Hindu god Vishnu.


title: Bali United F.C.

text: The song "Rasa Bangga", or "Pride" in English, composed and recorded by Bali band The Resistance, is the club's anthem and has been sung by all the fans, players, and staff of Bali United after any home or away game since the 2017 season.


title: Bali United F.C.

text: Bali United has an online-streaming-based TV channel that airs in YouTube called Bali Utd TV, which started broadcasting on 19 October 2016. It features news updates, player and staff interviews, match highlights (of the first team and the youth squad), and other themed programs.


title: Bali United F.C.

text: On 20 May 2017, Bali United officially launched the team's mobile app to connect with the fans. Bali United CEO Yabes Tanuri said the launch of the application is based on the awareness of the importance of technology for marketing development and interaction of a club with its supporters. By using the mobile apps, the supporters can easily access all sorts of team information.


title: Bali United F.C.

text: Bali United also owns their own radio station, Bali United FM. With a tagline "your sportainment station", they broadcast Bali United games and also latest information about Bali United that airs on 106,9 FM in Bali. Bali United FM is operating in the third floor of Bali United's office.


title: Bali United F.C.

text: Bali United also operate a women's football team. They have been affiliated to the men's team since 2019 and were one of the 10 inaugural teams of the Liga 1 Putri.


title: Bali United F.C.

text: In February 2019, Bali United opened an eSports department named Island of Gods (IOG), becoming the first professional football club in Indonesia to do so. They have five divisions so far, such as: "", "PUBG Mobile", "Free Fire", "FIFA", and "Pro Evolution Soccer". In Free Fire Asia Invitational (FFAI) 2019 tournament, they managed to become champions after getting the highest points with 2,345 points.


title: Maurice (novel)

text: Maurice is a novel by E. M. Forster. A tale of homosexual love in early 20th-century England, it follows Maurice Hall from his schooldays through university and beyond. It was written in 1913–1914 and revised in 1932 and 1959–1960. Forster was an admirer of the poet, philosopher, socialist, and early gay activist Edward Carpenter and, following a visit to Carpenter's home at Millthorpe, Derbyshire in 1913, was inspired to write "Maurice." The cross-class relationship between Carpenter and his working-class partner, George Merrill, presented a real-life model for that of Maurice and Alec Scudder.


title: Maurice (novel)

text: Although Forster showed the novel to a select few of his trusted friends (among them Siegfried Sassoon, Lytton Strachey, Edward Carpenter, Christopher Isherwood, Xiao Qian and Forrest Reid), it was published only posthumously, in 1971. Forster did not seek to publish it during his lifetime, believing it to have been unpublishable during that period owing to public and legal attitudes to same-sex love. A note found on the manuscript read: "Publishable, but worth it?" Forster was determined that his novel should have a happy ending, but also feared that this would make the book liable to prosecution while male homosexuality remained illegal in the UK.


title: Maurice (novel)

text: There has been speculation that Forster's unpublished manuscript may have been seen by D. H. Lawrence and influenced his 1928 novel "Lady Chatterley's Lover," which also involves a gamekeeper becoming the lover of a member of the upper classes.


title: Maurice (novel)

text: The novel has been adapted by James Ivory and Kit Hesketh-Harvey as the 1987 Merchant Ivory Productions film "Maurice," for the stage, and as a 2007 BBC Radio 4 Classic Serial by Philip Osment.


title: Maurice (novel)

text: Maurice Hall, age fourteen, discusses sex and women with his prep-school teacher Ben Ducie just before Maurice progresses to his public school. Maurice feels removed from the depiction of marriage with a woman as the goal of life.


title: Maurice (novel)

text: Some years later, while studying at Cambridge, Maurice befriends a fellow student Clive Durham. Durham introduces him to ancient Greek writings about same-sex love, including Plato's "Symposium", and after a short time the two begin a romantic relationship, which continues until they have left university.


title: Maurice (novel)

text: After visiting Greece, Durham falls ill; on recovery, he ends his relationship with Maurice, professing he is heterosexual and marrying a woman. Maurice is devastated, but he becomes a stockbroker, in his spare time helping to operate a Christian mission's boxing gym for working-class boys in the East End, although under Clive's influence he has long since abandoned his Christian beliefs.


title: Maurice (novel)

text: He makes an appointment with a hypnotist, Mr. Lasker Jones, in an attempt to "cure" himself. Lasker Jones refers to his condition as "congenital homosexuality" and claims a 50 percent success rate in curing this "condition". After the first appointment, it is clear that the hypnotism has failed.


title: Maurice (novel)

text: Maurice is invited to stay with the Durhams. There, at first unnoticed by him, is the young under-gamekeeper Alec Scudder (called Scudder for large passages of the book), who has noticed Maurice. One night, a heartbroken Maurice calls for Clive to join him. Believing that Maurice is calling for him, Alec climbs to his window with a ladder and the two spend the night together.


title: Maurice (novel)

text: After their first night together, Maurice panics, fearing he will be exposed as a homosexual. Alec is wounded by Maurice's refusal to answer his letters and threatens to expose him. Maurice goes to Lasker Jones one more time. Knowing that the therapy is failing, he tells Maurice to consider relocating to a country where same-sex relationships are legal, such as France or Italy. Maurice wonders if same-sex relationships will ever be acceptable in England to which Lasker Jones replies, "I doubt it. England has always been disinclined to accept human nature."


title: Maurice (novel)

text: Maurice and Alec meet at the British Museum in London to discuss the blackmail. It becomes clear that they are in love with each other.


title: Maurice (novel)

text: After another night together, Alec tells Maurice that he is emigrating to Argentina and will not return. Maurice asks Alec to stay with him and indicates that he is willing to give up his social and financial position, as well as his job. Alec does not accept the offer. After initial resentment, Maurice decides to bid Alec farewell. He is taken aback when Alec is not at the harbour. In a hurry, he makes for the Durhams' estate, where the two lovers were supposed to have met before at a boathouse. He finds Alec, who assumes Maurice had received the telegram Alec had sent to his residence. Alec had changed his mind and intends to stay with Maurice, telling him that they "shan't be parted no more."


title: Maurice (novel)

text: Maurice visits Clive and outlines what has happened with Alec. Clive is left speechless and unable to comprehend. Maurice leaves to be with Alec, and Clive never sees him again.


title: Maurice (novel)

text: In the original manuscripts, Forster wrote an epilogue concerning the post-novel fate of Maurice and Alec that he later discarded because it was unpopular among those to whom he showed it. This epilogue can still be found in the Abinger edition of the novel, which also contains a summary of the differences between various versions of the novel.


title: Maurice (novel)

text: The Abinger reprint of the epilogue retains Maurice's original surname of Hill. (Although the surname had been chosen for the character before Maurice Hill (geophysicist) was even born, it certainly could not be retained once the latter had become a Fellow of King's College, Cambridge, Forster's own College. It might, of course, have been changed before that time.)


title: Maurice (novel)

text: The epilogue contains a meeting between Maurice and his sister Kitty some years later. Alec and Maurice have by now become woodcutters. It dawns upon Kitty why her brother disappeared. This portion of the novel underlines the extreme dislike that Kitty feels for her brother. The epilogue ends with Maurice and Alec in each other's arms at the end of the day and discussing seeing Kitty and resolving that they must move on to avoid detection or a further meeting.


title: Maurice (novel)

text: Critical reception in 1971 was, at best, mixed. C. P. Snow, in "The Financial Times," found the novel 'crippled' by its "explicit purpose," with the ending "artistically quite wrong" (a near universal criticism at the time). Walter Allen in the "Daily Telegraph," characterised it as "a thesis novel, a plea for public recognition of the homosexual," which Forster had "wasted" himself doing, instead of an autobiographical work. For Michael Ratcliffe, in "The Times," it stands as "the least poetic, the least witty, the least dense and the most immediately realistic of the six novels." Philip Toynbee, in "The Observer," found the novel "deeply embarrassing" and "perfunctory to the point of painful incompetence," prompting him to question "whether there really is such a thing as a specifically homosexual sensibility." Toynbee went on to state that he could "detect nothing particularly homosexual about "Maurice" other than it happens to be about homosexuals."


title: Maurice (novel)

text: Somewhat more positively, Paddy Kitchen, in "The Times Educational Supplement," thought that the novel "should be taken on the terms it was conceived and not as some contender to... "Howards End."" In delineating "a moral theme," Forster is, in Kitchen's view, "the ideal person." V.S. Pritchett, in "The New Statesman," found the character of Alec "a good deal better drawn" than Mellors in "Lady Chatterley's Lover," although found the dull Maurice, shorn of Forster's "intelligence and sensibility," to be hardly believable. But Cyril Connolly, in "The Sunday Times," found "considerable irony" in the fact that it is Maurice, not Clive, the "sensitive young squire," who "turns out to be the incurable."


title: Maurice (novel)

text: For George Steiner in "The New Yorker," the modest achievement of "Maurice" served to magnify the greatness of "A Passage to India":


title: Maurice (novel)

text: Subtlest of all is Forster’s solution of the problem of 'physical realization.' In "Maurice", this basic difficulty had lamed him. Unlike Gide or Lawrence, he had found no sensuous enactment adequate to his vision of sex. Gesture recedes in a cloying mist. The mysterious outrage in the Marabar caves is a perfect solution. Though, as the rest of the novel will show, 'nothing has happened' in that dark and echoing place, the force of sexual suggestion is uncompromising. As only a true writer can, Forster had found his way to a symbolic action richer, more precise than any single concrete occurrence.


title: Maurice (novel)

text: The novel was made into a film "Maurice" (1987), directed by James Ivory and starring James Wilby as Maurice, Hugh Grant as Clive, and Rupert Graves as Alec.


title: Maurice (novel)

text: A stage adaptation, written by Roger Parsley and Andy Graham, was produced by SNAP Theatre Company in 1998 and toured the UK, culminating with a brief run at London's Bloomsbury Theatre. Shameless Theatre Company staged another production in 2010 at the Above the Stag Theatre in London. Above the Stag staged it again in September/October 2018, as part of the theatre's first season in their new premises. It was directed by James Wilby. The US premiere opened on 24 February 2012 at the New Conservatory Theatre Center in San Francisco.


title: Maurice (novel)

text: A retelling and continuation of the novel by William di Canzio, titled "Alec", was published in 2021.


title: Old Latin

text: Old Latin, also known as Early Latin or Archaic Latin (Classical ), was the Latin language in the period before 75 BC, i.e. before the age of Classical Latin. It descends from a common Proto-Italic language; Latino-Faliscan is likely a separate branch from Osco-Umbrian with possible further relation to other Italic languages and to Celtic; e.g. the Italo-Celtic hypothesis.


title: Old Latin

text: The use of "old", "early" and "archaic" has been standard in publications of Old Latin writings since at least the 18th century. The definition is not arbitrary, but the terms refer to spelling conventions and word forms not generally found in works written under the Roman Empire. This article presents some of the major differences.


title: Old Latin

text: The earliest known specimen of Latin seems on the Praeneste fibula. A new analysis done in 2011 declared it to be genuine "beyond any reasonable doubt" and dating from the Orientalizing period, in the first half of the seventh century BC. Other Old Latin inscriptions dated to either the late Roman Kingdom or early Roman Republic include the Lapis Niger stone, the Duenos Inscription on a "kernos" vase, and the Garigliano bowl of Bucchero type.


title: Old Latin

text: The concept of Old Latin ("Prisca Latinitas") is as old as the concept of Classical Latin – both labels date to at least as early as the late Roman Republic. In that period Cicero, along with others, noted that the language he used every day, presumably upper-class city Latin, included lexical items and phrases that were heirlooms from a previous time, which he called "verborum vetustas prisca", translated as "the old age/time of language".


title: Old Latin

text: In the classical period, "Prisca Latinitas", "Prisca Latina" and other idioms using the adjective always meant these remnants of a previous language, which, in Roman philology, was taken to be much older in fact than it really was. "Viri prisci", "old-time men", meant the population of Latium before the founding of Rome.


title: Old Latin

text: In the Late Latin period, when Classical Latin was behind them, Latin- and Greek-speaking grammarians were faced with multiple phases, or styles, within the language. Isidore of Seville ( 560 – 636) reports a classification scheme that had come into existence in or before his time: "the four Latins" ("Moreover, some people have said that there are four Latin languages"; ""Latinas autem linguas quattuor esse quidam dixerunt""). They were:


title: Old Latin

text: In 1874, John Wordsworth used this definition: "By Early Latin I understand Latin of the whole period of the Republic, which is separated very strikingly, both in tone and in outward form, from that of the Empire."


title: Old Latin

text: Although the differences are striking and can be easily identified by Latin readers, they are not such as to cause a language barrier. Latin speakers of the empire had no reported trouble understanding Old Latin, except for the few texts that must date from the time of the kings, mainly songs. Thus, the laws of the Twelve Tables (5th century BC) from the early Republic were comprehensible, but the "Carmen Saliare", probably written under Numa Pompilius (who traditionally reigned from 715 to 673 BC), was not entirely clear (and remains so). On the other hand, Polybius, a Greek historian of Rome who flourished in the late second century BC, commented on "the first treaty between Rome and Carthage", (which he dated to 28 years before Xerxes I crossed into Greece; that is, in 508 BC) that "the ancient Roman language differs so much from the modern that it can only be partially made out, and that after much application by the most intelligent men".


title: Old Latin

text: There is no sharp distinction between Old Latin, as it was spoken for most of the Republic, and Classical Latin, but the earlier grades into the later. The end of the republic was too late a termination for compilers after Wordsworth; Charles Edwin Bennett said, "'Early Latin' is necessarily a somewhat vague term ... Bell, "De locativi in prisca Latinitate vi et usu", Breslau, 1889, sets the later limit at 75 BC. A definite date is really impossible, since archaic Latin does not terminate abruptly, but continues even down to imperial times." Bennett's own date of 100 BC did not prevail; rather Bell's 75 BC became the standard as expressed in the four-volume Loeb Library and other major compendia. Over the 377 years from 452 to 75 BC, Old Latin evolved from texts partially comprehensible by classicists with study to being easily read by scholars.


title: Old Latin

text: Old Latin authored works began in the 3rd century BC. These are complete or nearly complete works under their own name surviving as manuscripts copied from other manuscripts in whatever script was current at the time. There are also fragments of works quoted in other authors.


title: Old Latin

text: Many texts placed by various methods (painting, engraving, embossing) on their original media survive just as they were except for the ravages of time. Some of these were copied from other inscriptions. No inscription can be older than the introduction of the Greek alphabet into Italy but none survive from that early date. The imprecision of archaeological dating makes it impossible to assign a year to any one inscription, but the earliest survivals are probably from the 6th century BC. Some texts, however, that survive as fragments in the works of classical authors, had to have been composed earlier than the republic, in the time of the monarchy. These are listed below. Note that some authors, especially in recent texts, refer to the oldest Latin documents (7th-5th c. BCE) as Very Old Latin (VOL).


title: Old Latin

text: Old Latin surviving in inscriptions is written in various forms of the Etruscan alphabet as it evolved into the Latin alphabet. The writing conventions varied by time and place until classical conventions prevailed.


title: Old Latin

text: Apart of old inscriptions, texts in the original writing system have been lost or transcribed by later copyists.


title: Old Latin

text: Some differences between old and classical Latin were of spelling only; pronunciation is thought to be essentially the same as in classical Latin:


title: Old Latin

text: These differences did not necessarily run concurrently with each other and were not universal; that is, c was used for both c and g.


title: Old Latin

text: Old Latin is thought to have had a strong stress on the first syllable of a word until about 250 BC. All syllables other than the first were unstressed and were subjected to greater amounts of phonological weakening. Starting around that year, the Classical Latin stress system began to develop. It passed through at least one intermediate stage, found in Plautus, in which the stress occurred on the fourth last syllable in four-syllable words with all short syllables.


title: Old Latin

text: Most original PIE (Proto-Indo-European) diphthongs were preserved in stressed syllables, including (later "ae"); (later "ī"); (later "ū", or sometimes "oe"); (from PIE and ; later "ū").


title: Old Latin

text: The Old Latin diphthong "ei" evolves in stages: "ei" > "ẹ̄" > "ī". The intermediate sound "ẹ̄" was simply written "e" but must have been distinct from the normal long vowel "ē" because "ẹ̄" subsequently merged with "ī" while "ē" did not. It is generally thought that "ẹ̄" was a higher sound than "e" (e.g. perhaps vs. during the time when both sounds existed). Even after the original vowel had merged with "ī", the old spelling "ei" continued to be used for a while, with the result that "ei" came to stand for "ī" and began to be used in the spelling of original occurrences of "ī" that did not evolve from "ei" (e.g. in the genitive singular "-ī", which is always spelled "-i" in the oldest inscriptions but later on can be spelled either "-i" or "-ei").


title: Old Latin

text: In unstressed syllables, *oi and *ai had already merged into "ei" by historic times (except for one possible occurrence of "poploe" for "populī" "people" in a late manuscript of one of the early songs). This eventually also evolved to "ī".


title: Old Latin

text: Old Latin often had different short vowels from Classical Latin, reflecting sound changes that had not yet taken place. For example, the very early Duenos inscription has the form "duenos" "good", later found as "duonos" and still later "bonus". A countervailing change "wo" > "we" occurred around 150 BC in certain contexts, and many earlier forms are found (e.g. earlier "votō, voster, vorsus" vs. later "vetō, vester, versus").


title: Old Latin

text: Old Latin frequently preserves original PIE thematic case endings "-os" and "-om" (later "-us" and "-um").


title: Old Latin

text: Intervocalic (pronounced ) was preserved up to 350 BC or so, at which point it changed into (rhotacism). This rhotacism had implications for declension: early classical Latin, "honos", "honoris" (from "honos", "honoses"); later Classical (by analogy) "honor", "honoris" ("honor"). Some Old Latin texts preserve in this position, such as the Carmen Arvale's "lases" for "lares". Later instances of single between vowels are mostly due either to reduction of early after long vowels or diphthongs; borrowings; or late reconstructions.


title: Old Latin

text: There are many unreduced clusters, e.g. "iouxmentom" (later "iūmentum", "beast of burden"); "losna" (later "lūna", "moon") < *"lousna" < */leuksnā/; "cosmis" (> "cōmis", "courteous"); "stlocum", acc. (> "locum", "place").


title: Old Latin

text: Early "du" becomes "b": "duenos" > "duonos" > "bonus" "good"; "duis" > "bis" "twice"; "duellom" > "bellum" "war".


title: Old Latin

text: Final occurred in ablatives, such as "puellād" "from the girl" or "campōd" "from the field", later "puellā" and "campō". In verb conjugation, the third-person ending -"d" later became -"t", e.g. Old Latin "faced" > Classical "facit."


title: Old Latin

text: Latin nouns have grammatical case, with an ending, or suffix, showing its use in the sentence: subject, predicate, etc. A case for a given word is formed by suffixing a case ending to a part of the word common to all its cases called a stem. Stems are classified by their last letters as vowel or consonant. Vowel stems are formed by adding a suffix to a shorter and more ancient segment called a root. Consonant stems are the root (roots end in consonants). The combination of the last letter of the stem and the case ending often results in an ending also called a case ending or termination. For example, the stem "puella-" receives a case ending "-m" to form the accusative case "puellam" in which the termination "-am" is evident.


title: Old Latin

text: In Classical Latin textbooks the declensions are named from the letter ending the stem or First, Second, etc. to Fifth. A declension may be illustrated by a paradigm, or listing of all the cases of a typical word. This method is less often applied to Old Latin, and with less validity. In contrast to Classical Latin, Old Latin reflects the evolution of the language from an ancestor spoken in Latium. The endings are multiple. Their use depends on time and place. Any paradigm selected would be subject to these constraints and if applied to the language universally would give false constructs, hypothetical words not attested in the Old Latin corpus. Nevertheless, the endings are shown below by quasi-classical paradigms. Alternate endings from different stages of development are given, but they may not be attested for the word of the paradigm. For example, in the second declension, *"campoe" "fields" is unattested, but "poploe" "peoples" is attested.


title: Old Latin

text: The locative was a separate case in Old Latin but gradually became reduced in function, and the locative singular form eventually merged with the genitive singular by regular sound change. In the plural, the locative was captured by the ablative case in all Italic languages before Old Latin.


title: Old Latin

text: The stems of nouns of this declension usually end in -ā and are typically feminine. A nominative case ending of -s in a few masculines indicates the nominative singular case ending may have been originally -s: "paricidas" for later "parricida", but the -s tended to get lost. In the nominative plural, -ī replaced original -s as in the genitive singular.


title: Old Latin

text: In the genitive singular, the -s was replaced with -ī from the second declension, the resulting diphthong shortening to -ai subsequently becoming -ae. The original form is maintained in some formulas, e.g. "pater familiās". The genitive plural ending -āsōm (classical -ārum following rhotacism), borrowed from the pronouns, began to overtake original -om.


title: Old Latin

text: In the dative singular the final i is either long or short. The ending becomes -ae, -a (Feronia) or -e (Fortune).


title: Old Latin

text: In the ablative singular, -d was regularly lost after a long vowel. In the dative and ablative plural, the -abos descending from Indo-European *-ābhos is used for feminines only ("deabus"). *-ais > -eis > -īs is adapted from -ois of the o-declension.


title: Old Latin

text: The vocative singular had inherited short -a. This later merged with the nominative singular when -ā was shortened to -ă.


title: Old Latin

text: The locative case would not apply to such a meaning as "puella", so Roma, which is singular, and Syracusae, which is plural, have been substituted. The locative plural has already merged with the -eis form of the ablative.


title: Old Latin

text: The stems of the nouns of the o-declension end in ŏ deriving from the o-grade of Indo-European ablaut. Classical Latin evidences the development ŏ > ŭ. Nouns of this declension are either masculine or neuter.


title: Old Latin

text: Nominative singulars ending in -ros or -ris syncopate the ending: *agros > *agrs > *agers > *agerr > "ager". (The form "terr" "three times" for later "ter" < *tris appears in Plautus.)


title: Old Latin

text: This declension contains nouns that are masculine, feminine, and neuter. The stem ends in the root consonant, except in the special case where it ends in -i (i-stem declension). The i-stem, which is a vowel-stem, partly fused with the consonant-stem in the pre-Latin period and went further in Old Latin. I/y and u/w can be treated as either consonants or vowels; hence they are semi-vowels. Mixed-stem declensions are partly like consonant-stem and partly like i-stem. Consonant-stem declensions vary slightly depending on which consonant is root-final: stop-, r-, n-, s-, etc. The paradigms below include a stop-stem (reg-) and an i-stem (igni-).


title: Old Latin

text: For a consonant declension, in the nominative singular, the -s was affixed directly to the stem consonant, but the combination of the two consonants produced modified nominatives over the Old Latin period. The case appears in different stages of modification in different words diachronically. The Latin neuter form (not shown) is the Indo-European nominative without stem ending; for example, cor < *cord "heart."


title: Old Latin

text: The genitive singular endings include "-is < -es" and "-us < *-os". In the genitive plural, some forms appear to affix the case ending to the genitive singular rather than the stem:


title: Old Latin

text: In the ablative singular, the -d was lost after 200 BC. In the dative and ablative plural, the early poets sometimes used -būs.


title: Old Latin

text: In the locative singular, the earliest form is like the dative but over the period assimilated to the ablative.


title: Old Latin

text: The stems of the nouns of the u-declension end in ŭ and are masculine, feminine and neuter. In addition there is a ū-stem declension, which contains only a few "isolated" words, such as "sūs", "pig", and is not presented here.


title: Old Latin

text: Personal pronouns are among the most common thing found in Old Latin inscriptions. In all three persons, the ablative singular ending is identical to the accusative singular.


title: Old Latin

text: In Old Latin, the relative pronoun is also another common concept, especially in inscriptions. The forms are quite inconsistent and leave much to be reconstructed by scholars.


title: Old Latin

text: There is little evidence of the inflection of Old Latin verb forms and the few surviving inscriptions hold many inconsistencies between forms. Therefore, the forms below are ones that are both proved by scholars through Old Latin inscriptions, and recreated by scholars based on other early Indo-European languages such as Greek and Italic dialects such as Oscan and Umbrian, and which also may be compared to modern Spanish.


title: Old Latin

text: The Italian director Matteo Rovere has shot the 2019 film "" and the 2020-2022 TV series "Romulus" with dialog in a reconstructed version of Old Latin.


title: Old Latin

text: The linguists have had to make concessions for ease of filming and not going too much against the expectations of viewers.


title: Old Latin

text: For example, the character of the Lady of the Wolves is (an allusion to Homer's ) since Latin did not have the desired nuances.


title: Old Latin

text: Before rhotacism, Old Latin had lots of sibilants, so some had to be substituted to ease the actors' work.


title: YouTube Rewind

text: YouTube Rewind (stylized as YouTube ЯEWIND) was an annual video series produced and created by YouTube and Portal A Interactive from 2010 to 2019. The videos were an overview and a recap of each year's viral videos, events, trends, and music. Each year, the number of YouTube personalities featured increased. The series' annual installments were uploaded onto YouTube's official channel.


title: YouTube Rewind

text: The 2018 installment of the series, "", was universally panned by critics, YouTubers and viewers alike, garnering over 10 million dislikes in its first two weeks, and becoming the most disliked video of all time on YouTube. The next installment, "", also had a poor reception from viewers. "Rewind" did not return for 2020 due to the COVID-19 pandemic, and YouTube announced the following year that the series would be discontinued.


title: YouTube Rewind

text: The first "Rewind" was created by YouTube in 2010 and featured a list of the 50 most popular YouTube videos of that year. In 2010, YouTube began creating and producing "Rewind" videos with the help of Seedwell and Portal A Interactive. From 2011 onwards, the "Rewind" videos have only been uploaded to the YouTube Spotlight channel, now known as just YouTube, with additional behind-the-scenes content.


title: YouTube Rewind

text: On December 13, 2010, the first "YouTube Rewind" was uploaded, titled "2010 YouTube Rewind: Year in Review" and featured the top ten most popular videos of the year on YouTube. It was uploaded on two channels: YouTube Trends on the first day, and YouTube Spotlight on the second.


title: YouTube Rewind

text: On December 20, 2011, "YouTube Rewind 2011" was uploaded. It was created and produced by YouTube and Portal A Interactive, and features Rebecca Black, whose music video of her song "Friday" had gone viral in March of that year, as the host. Like in 2010, it featured another top ten most popular videos of the year on YouTube.


title: YouTube Rewind

text: In 2012, YouTube's "Rewind" videos changed to featuring several popular YouTubers; the most popular music videos, and videos; breaking news; and internet memes from the year. "Rewind YouTube Style 2012", referencing Psy's "Gangnam Style", was released on December 17, 2012. It was created and produced by YouTube and Seedwell.


title: YouTube Rewind

text: The video starts with the text "Nothing is more powerful than a video whose time has come"; the final two words change to "is 2012.", with an accompanying string instrument sound, resembling the introduction of "Kony 2012", a viral documentary film aired earlier that year.


title: YouTube Rewind

text: On December 11, 2013, "YouTube Rewind: What Does 2013 Say?", referencing Ylvis' "The Fox (What Does the Fox Say?)", was released. The video also made prominent use of Psy's "Gentleman", however, following a copyright claim from the artist, the video was amended in 2015 to remove the song. The video was created and produced by YouTube and Portal A Interactive. This was the first year that the YouTube Rewind Button was used; otherwise, the video was stylistically similar to the 2012 video. DJ Earworm served as the music producer for the video, mashing up six popular songs of the year. Jimmy Fallon and The Roots from "The Tonight Show" made guest appearances. It also marked the first appearance of PewDiePie in the "Rewind" series.


title: YouTube Rewind

text: "What Does 2013 Say?" was dedicated to fellow YouTuber Talia Castellano, who died on July 16, five months prior to the release of the video.


title: YouTube Rewind

text: On December 9, 2014, "YouTube Rewind: Turn Down for 2014", referencing DJ Snake and Lil Jon's "Turn Down for What", was released. It was again created and produced by YouTube and Portal A Interactive. Over 10 songs were mashed-up by DJ Earworm for the video. The video was not structured around songs, as in previous years, with more Internet memes and trends used alongside the music. Its main feature was the YouTube Rewind Button flag, with which YouTubers and other notable personalities run throughout the video. The flag was run through the sets of "The Colbert Report" by Big Bird; "Conan" by host Conan O'Brien himself, with Freddie Wong acting as substitute host; and "Last Week Tonight with John Oliver" by Kid President. The actual Rewind Button was not shown until the end of the video.


title: YouTube Rewind

text: On December 9, 2015, "YouTube Rewind: Now Watch Me 2015", referencing Silentó's "Watch Me (Whip/Nae Nae)", was released. It was again created and produced by YouTube and Portal A Interactive, and was the first one to feature a hashtag, in this case #YouTubeRewind. The video heavily incorporated references to previous years of YouTube due to 2015 being the year of the website's tenth anniversary. The music mashup was produced by The Hood Internet and included songs such as Major Lazer and DJ Snake's "Lean On", the Weeknd's "Can't Feel My Face", and Justin Bieber's "What Do You Mean?". Additionally, Avicii produced an original remix of "Broken Arrows" for the video. The video featured more gaming personalities than previous years, including Markiplier, CaptainSparklez, MatPat and Smosh Games, with a segment set up to resemble "Five Nights at Freddy's". PewDiePie and Zoella makes an appearance halfway through the video, where they're shown next to a scoreboard with two dates of December 9, 2015, a reference to "Back to the Future Part II", which is set in 2015. Zoella changes one scoreboard date back to February 14, 2005, leaving the other at December 9, 2015. Afterwards, PewDiePie "brofists" the Rewind button, triggering the video to show past viral videos and memes from 2015 back to 2005. After the credits, the Fine Brothers are shown arguing about whether PewDiePie is actually in the video.


title: YouTube Rewind

text: On December 7, 2016, "YouTube Rewind: The Ultimate 2016 Challenge", referencing the increasing number of Internet challenges in 2016, was released. It was again created and produced by YouTube and Portal A Interactive. The Hood Internet returned to produce the music mashup for the video, with Major Lazer contributing an original remix of their own. The video begins with Dwayne Johnson showing a miniature Rewind button, and YouTube personalities hunting for Rewind symbols in the style of "Pokémon Go". The video also references objects being crushed by a hydraulic press, Hodor from "Game of Thrones", the water-bottle flip challenge, "PPAP (Pen-Pineapple-Apple-Pen)" (with Pikotaro himself appearing), and the dabbing dance move. The video also references some of the most popular songs of 2016, including Fifth Harmony's "Work from Home", the Chainsmokers' "Closer", and Beyoncé's "Hold Up". The video ends with James Corden and other personalities in a car, re-enacting the Carpool Karaoke segments from "The Late Late Show".


title: YouTube Rewind

text: On December 6, 2017, "YouTube Rewind: The Shape of 2017", referencing Ed Sheeran's "Shape of You", was released. The video received mixed reviews from critics, YouTubers, and viewers alike following its release. Some of the various criticisms were directed at its overuse of memes, and the notable exclusion of PewDiePie for . To date, it has received over 4.5 million likes. It also received significantly more dislikes than the previous years (excluding 2011), at over 2.3 million dislikes (), making it the 35th most-disliked YouTube video of all time.


title: YouTube Rewind

text: On December 6, 2018, "YouTube Rewind 2018: Everyone Controls Rewind" was released. Upon its release, the video was overwhelmingly panned, receiving extensive backlash from critics, YouTubers and viewers alike. Many YouTubers deemed it the "worst Rewind ever". Criticisms ranged from the inclusion of celebrities and personalities who are not affiliated with YouTube (such as Will Smith and Ninja), lack of tributes to recent deaths such as Stephen Hawking, Avicii, TotalBiscuit, Stefán Karl Stefánsson, XXXTentacion, Aretha Franklin, Mac Miller, Stan Lee, and Stephen Hillenburg, as well as the exclusion of certain controversial personalities, such as Shane Dawson and Lil Pump, alongside the rivalries of KSI vs Logan Paul and PewDiePie vs T-Series.


title: YouTube Rewind

text: "Everyone Controls Rewind" incorporated user comment suggestions as a part of the video, although many viewers stated that the trends that the video included (such as "Fortnite" and K-pop) were unpopular to the majority of the community, calling YouTube "out of touch" with its viewers and their interests. Julia Alexander, writing for "The Verge", suggested that YouTube had intentionally left out the biggest moments on the platform in 2018 in an attempt to appease worried advertisers over controversies that had plagued the platform over the past two years: "it's [...] increasingly apparent, however, that YouTube is trying to sell a culture that's different from the one millions of people come to the platform for, and that's getting harder for both creators and fans to swallow". Meira Gebel of "Business Insider" shared a similar sentiment, saying that "The video appears to be an attempt for the company to keep advertisers on its side following a rather rocky 2018." In her February YouTube Newsletter, YouTube CEO Susan Wojcicki admits that the video did poorly, saying "Even my kids called it 'cringey' ".


title: YouTube Rewind

text: "Everyone Controls Rewind" is currently the most-disliked YouTube video of all time, with over 20 million dislikes (according to the RYD extension) against 3 million likes . It is also the first video to reach 10 million dislikes. Meanwhile, PewDiePie's take on the video, titled "YouTube Rewind 2018 but it's actually good", claimed the top spot of the most liked non-music videos only two days after being uploaded.


title: YouTube Rewind

text: On December 5, 2019, "YouTube Rewind 2019: For the Record" was released. The 2019 edition returned to a format reminiscent of the first two iterations of the series, featuring a montage of the top videos of 2019, divided into several themed countdowns based on statistics and trends. Kevin Allocca, YouTube's head of culture and trends, explained that the video was intended to be more reflective of the year's trends, acknowledging that it was becoming more difficult for the previous format to "authentically represent" the community's overall experience. The video has been criticized as coming off as “passive-aggressive” towards consumers, or "lazy" as it does not have the same level of production as the previous editions and was noted as being akin to WatchMojo videos. Many also felt the new format lacked energy and a "soul", saying that it showed that YouTube was being openly more corporate.


title: YouTube Rewind

text: However, many saw improvement with casting choices in some areas, particularly with the inclusion of PewDiePie, who was absent in previous Rewinds.


title: YouTube Rewind

text: Similarly to the previous year, the video was criticized for lacking tributes to personalities who had died in the year, most notably Desmond "Etika" Amofah and Juice WRLD. Despite being included in the 2019 edition, PewDiePie made his own take on the video, titled "YouTube Rewind 2019, but it's actually good".


title: YouTube Rewind

text: On November 12, 2020, YouTube announced that there would be no "Rewind" for the year, stating "2020 has been different, And it doesn't feel right to carry on as if it weren't." While the events of the year, including the COVID-19 pandemic and the George Floyd protests, were strongly suggested as the reasons behind the decision, many believed that this was due to the poor reception of the last three installments of the series, leading to speculation that YouTube would cancel the series entirely.


title: YouTube Rewind

text: On December 12, 2020, creator Michelle Khare released "YouTube Rewind 2020: The Musical" onto her own channel after releasing a trailer three days prior. Due to fan backlash over the inclusion of a lookalike of Jenna Marbles, who went on indefinite hiatus from YouTube in June of that year due to controversies related to her earlier videos, the video was set to private.


title: YouTube Rewind

text: On January 1, 2021, creator MrBeast made his own version of "Rewind" called "YouTube Rewind 2020: Thank God It's Over". This rewind included many popular YouTubers of that year and was positively received.


title: YouTube Rewind

text: On October 7, 2021, YouTube announced that "Rewind" would be discontinued, expressing hope that its creators would fill in the gap. Instead, a 24-hour interactive livestream titled "Escape2021" was livestreamed on December 16 as a replacement, including a live "Minecraft" performance by BTS that was fully produced by the Noxcrew and also featured "Minecraft" YouTubers Dream, GeorgeNotFound, Aphmau, PrestonPlayz, BriannaPlayz and BeckBroJack.


title: Kashmiris

text: Kashmiris are an Indo-Aryan ethnolinguistic group speaking the Kashmiri language, living mostly, but not exclusively, in the Kashmir Valley.


title: Kashmiris

text: The earliest known Neolithic sites in Kashmir valley are from c. 3000 BCE. The most important sites are at Burzahom. During the later Vedic period, the Uttara–Kurus settled in Kashmir. In 326 BCE, Abisares, the king of Kashmir, aided Porus against Alexander the Great in the Battle of Hydaspes. After the battle, Abhisares submitted to Alexander by sending him treasures and elephants.


title: Kashmiris

text: During the reign of Ashoka (304–232 BCE), Kashmir became part of the Maurya Empire and the city of Srinagari (Srinagar) was built. Kanishka (127–151 CE), an emperor of the Kushan dynasty, conquered Kashmir. In the eighth century, during the Karkota Empire, Kashmir grew as an imperial power. Lalitaditya Muktapida defeated Yashovarman of Kanyakubja and conquered the eastern kingdoms of Magadha, Kamarupa, Gauda, and Kalinga. He defeated the Arabs at Sindh. The Utpala dynasty, founded by Avantivarman, followed the Karkotas. Queen Didda, who descended from the Hindu Shahis of Udabhandapura on her mother's side, took over as ruler in the second half of the 10th century. After her death in 1003 CE the Lohara dynasty ruled the region.


title: Kashmiris

text: In 1339 Shah Mir became the ruler of Kashmir, establishing the Shah Mir dynasty. During the rule of the Shah Mir dynasty Islam spread in Kashmir. From 1586 to 1751 the Mughal Empire ruled Kashmir. The Afghan Durrani Empire ruled from 1747 until 1819. The Sikhs, under Ranjit Singh, annexed Kashmir in 1819. In 1846, after the First Anglo-Sikh War, the Treaty of Lahore was signed and upon the purchase of the region from the British under the Treaty of Amritsar, the Raja of Jammu, Gulab Singh, became ruler of Kashmir. The rule of the Dogra dynasty under the British Crown lasted until 1947, when the princely state of Jammu and Kashmir became part of India. It is now a disputed territory, administered by three countries: India, Pakistan, and the People's Republic of China.


title: Kashmiris

text: There are about 6.8 million speakers of Kashmiri and related dialects in Jammu and Kashmir and amongst the Kashmiri diaspora in other states of India. Most Kashmiris are located in the Kashmir Valley and other areas of Jammu and Kashmir. In the Kashmir valley, they form a majority.


title: Kashmiris

text: Kashmiri is spoken by roughly five percent of Azad Kashmir's population. According to the 1998 Pakistan Census, there were 132,450 Kashmiri speakers in Azad Kashmir. Native speakers of the language were dispersed in "pockets" throughout Azad Kashmir, particularly in the districts of Muzaffarabad (15%), Neelam (20%) and Hattian (15%), with very small minorities in Haveli (5%) and Bagh (2%). The Kashmiri spoken in Muzaffarabad is distinct from, although still intelligible with, the Kashmiri of the Neelam Valley to the north. In Neelam Valley, Kashmiri is the second most widely spoken language and the majority language in at least a dozen or so villages, where in about half of these, it is the sole mother tongue. The Kashmiri dialect of Neelum is closer to the variety spoken in northern Kashmir Valley, particularly Kupwara. At the 2017 Census of Pakistan, as many as 350,000 people declared their first language to be Kashmiri.


title: Kashmiris

text: A process of language shift is observable among Kashmiri-speakers in Azad Kashmir according to linguist Tariq Rahman, as they gradually adopt local dialects such as Pahari-Pothwari, Hindko or move towards the "lingua franca" Urdu. This has resulted in these languages gaining ground at the expense of Kashmiri. There have been calls for the promotion of Kashmiri at an official level; in 1983, a Kashmiri Language Committee was set up by the government to patronise Kashmiri and impart it in school-level education. However, the limited attempts at introducing the language have not been successful, and it is Urdu, rather than Kashmiri, that Kashmiri Muslims have seen as their identity symbol. Rahman notes that efforts to organise a Kashmiri language movement have been challenged by the scattered nature of the Kashmiri-speaking community in Azad Kashmir.


title: Kashmiris

text: The Kashmiri language is one of the 22 scheduled languages of India. It was a part of the "eighth Schedule" in the former constitution of the Jammu and Kashmir. Along with other regional languages mentioned in the "Sixth Schedule", as well as Hindi and Urdu, the Kashmiri language was to be developed in the state.


title: Kashmiris

text: Persian began to be used as the court language in Kashmir during the 14th centuries, under the influence of Islam. It was replaced by Urdu in 1889 during the Dogra rule. In 2020, Kashmiri became an official language in the Union Territory of Jammu and Kashmir for the first time.


title: Kashmiris

text: Kashmiri is closely related to Poguli and Kishtwari, which are spoken in the mountains to the south of the Kashmir Valley and have sometimes been counted as dialects of Kashmiri.


title: Kashmiris

text: Kashmiri Hindus claim to be Saraswat Brahmins and are known by the exonym "Pandit". The Muslims living in Kashmir are of the same stock as the Kashmiri Pandit community and are designated as Kashmiri Muslims. Kashmiri Muslims are descended from Kashmiri Hindus and are also known as 'Sheikhs'. Both the Kashmiri Hindus and Muslim society reckons descent patrilineally. Certain property and titles may be inherited through the male line, but certain inheritances may accrue through the female line. After Kashmiri Hindus had converted to Islam they largely retained their family names ("kram") which indicated their original profession, locality or community. These include:


title: Kashmiris

text: A traditional dance form usually performed by women on occasions like marriages and similar social functions is "Rouf".


title: Kashmiris

text: Kashmir is also known for its bakery tradition. "Sheermal", "baqerkhayn" (puff pastry), "lavas" (unleavened bread) and "kulcha" are popular baked goods.


title: Benjamin Goldwasser

text: Benjamin Nicholas Hunter Goldwasser (born December 17, 1982) is an American songwriter and musician in the psychedelic rock band MGMT, for which he primarily plays keyboards and sings. In 2009, his song "Electric Feel" (co-written with bandmate Andrew VanWyngarden), remixed by Justice, won a Grammy Award in the Grammy Award for Best Remixed Recording, Non-Classical category. In 2010, his band was nominated for a Grammy as Best New Artist and Grammy Award for Best Pop Performance by a Duo or Group with Vocals.


title: Benjamin Goldwasser

text: Goldwasser was born in Mishawaka, Indiana, the son of Rachel Hunter and David Goldwasser. He was raised in Westport, New York. Goldwasser is Jewish on his father's side. When he was eleven years old, he saw Adrian Belew live in concert, and met guitarist Rob Fetters backstage. He began piano lessons with his grandmother and mother, played in his high school's jazz band, and attended a "rock and roll camp" in Montpelier, Vermont. One of his musical influences in high school was the electronic protopunk band Suicide.


title: Benjamin Goldwasser

text: Goldwasser met Andrew VanWyngarden, the other half of MGMT, in his freshman year at Wesleyan University. Goldwasser was studying Music at the time. While in college, he was a member of the Eclectic Society, a college society. He helped run the society's music venue (a room in the house). Goldwasser, already a keyboardist, took experimental music classes from composer Ron Kuivila with VanWyngarden which exposed them to progressive musical ideas. They made their debut as MGMT at a party in a college dormitory (playing the theme to the motion picture "Ghostbusters" over and over for hours). The duo would email one another and sign the emails "The MGMT" as a way of satirizing corporate culture. They chose this email signature line as the name of their new band.


title: Benjamin Goldwasser

text: After graduating from college in 2005, Goldwasser and VanWyngarden moved to New York City, experimenting with music and building a band. They immediately went on tour, opening for Of Montreal. But no record deal came, and the band was on hiatus by 2006. Goldwasser began working on a farm and was intending to move to California when the duo was signed by Columbia Records. The band's 2008 release for the label, "Oracular Spectacular", was a major success. However, the band's sudden success, Goldwasser says, put a serious strain on his friendship with VanWyngarden for a time. The band released its second album, "Congratulations", in April 2010 to generally positive reviews. Additionally, in 2013, they released their third studio album, self-titled MGMT. In 2014, Ben, along with psychedelic band Foxygen was featured on The Flaming Lips cover album, With a Little Help from My Fwends, on track 12. In 2021, Goldwasser and Karen O composed the music for the animated film Where is Anne Frank.


title: 1408 (short story)

text: "1408" is a short story by Stephen King. It is the third tale in the audiobook collection "Blood and Smoke", released in 1999. In 2002, "1408" was collected in written form as the 12th story in King's collection "Everything's Eventual". In the introduction to the story, King says that "1408" is his version of what he calls the "Ghostly Room at the Inn", his term for the theme of haunted hotel or motel rooms in horror fiction. He originally wrote the first few pages as part of an appendix for his non-fiction book, "" (2000), to be used as an example of how a story changes from one draft document to the next. King also noted how the numbers of the title add up to the supposedly unlucky number 13.


title: 1408 (short story)

text: Mike Enslin is a writer of non-fiction works based on the theme of haunted places: "Ten Nights in Ten Haunted Houses", "Ten Nights in Ten Haunted Graveyards", and "Ten Nights in Ten Haunted Castles". They prove to be best-sellers, but Enslin feels some guilt at their success, privately acknowledging that he does not believe in the paranormal and supernatural elements he investigates.


title: 1408 (short story)

text: Arriving at the Dolphin Hotel on 61st Street in New York City, Enslin is intent on spending the night in the hotel's infamous Room 1408 as part of his research for his next book, "Ten Nights in Ten Haunted Hotel Rooms". He is met by the hotel's manager, Mr. Olin, who fills him in on the room's morbid history – 1408 has been responsible for 42 deaths, at least 12 of them suicides, over a span of 68 years. While remarking he does not believe there are ghosts in 1408, Olin insists there is "something" that resides inside, causing terrible things to happen to anyone who stays within its walls for anything but the briefest periods of time. As such, he has striven to keep the room vacant during his tenure as manager, a period of nearly 20 years. Olin also reveals that, due to the superstitious practice of never recognizing the 13th floor (the room is listed as being on the 14th), it is a room cursed by existing on the 13th floor, the room numbers adding up to 13 making it all the worse.


title: 1408 (short story)

text: Enslin is secretly affected by Olin's remarks and evidence, but his determination to not appear superstitious and follow through with his research wins out. He demands the right to stay in the room by threatening legal action against the hotel. Olin pleads with Enslin to reconsider, believing that a skeptic would be highly susceptible to the room's powers. At Enslin's continued insistence, Olin reluctantly leads him to 1408, unwilling to accompany him farther than the elevator landing on the 14th floor.


title: 1408 (short story)

text: Enslin's problems with Room 1408 begin before he even sets foot through the door; the door itself initially appears to be canted to the left. After looking away and back, the door appears perfectly straight. Then, after looking a third time, it appears to be crooked again, except now to the right. Chalking the experience up to Olin's attempt to manipulate him, he girds himself and enters the room.


title: 1408 (short story)

text: Enslin spends 70 minutes in Room 1408, dictating his experience into a handheld tape recorder. Almost immediately, his train of thought takes unwelcome and chaotic turns — he compares it to being "stoned on bad, cheap dope" — and he experiences bizarre visual hallucinations. A breakfast menu on the night-stand changes languages to French, then Russian, then Italian, then a woodcut of a wolf eating a screaming boy's leg. The pattern on the wallpaper seems to shift and warp, and the room's pictures transform into grotesque parodies. Enslin feels his feet sink into the carpet like quicksand, and he hears a nightmarish voice on the room's phone chanting terrifying phrases: "This is nine! Nine! We have killed your friends! Every friend is now dead! This is six! Six!"


title: 1408 (short story)

text: The room itself begins to melt, the walls and ceiling warping and bowing inward. Enslin senses a dangerous, otherworldly presence coming for him. In desperation, he sets his "lucky" Hawaiian shirt on fire while wearing it, breaking the room's spell long enough for him to escape. Stumbling out into the hall, another hotel guest douses him with ice. When the other guest looks inside the room and is tempted to enter, Enslin warns him not to, claiming the room is "haunted". The door slams shut.


title: 1408 (short story)

text: After his ordeal, Enslin gives up writing altogether. He has acquired various physical and psychological problems stemming from his brief stay in the room. He notes to himself (as Olin expressed earlier) that there are no ghosts in 1408, because ghosts were once merely humans, while the entity he encountered was horrifically inhuman. In the end, Enslin sleeps with his lights on, has removed all his house's phones, and always draws the curtains before dark; he cannot stand the shade of yellow-orange at sunset that reminds him of the light inside Room 1408.


title: 1408 (short story)

text: The Swedish film director Mikael Håfström developed a movie, "1408", based on the short story, starring John Cusack as Michael Enslin and Samuel L. Jackson as Mr. Olin. It was released June 22, 2007 and was a financial success in its opening weekend, taking in $20.1 million.


title: Digital Devil Story: Megami Tensei

text: Digital Devil Story: Megami Tensei refers to two distinct role-playing video games based on a trilogy of science fantasy novels by Japanese author Aya Nishitani. One version was developed by Atlus and published by Namco in 1987 for the Famicom—Atlus would go on to create further games in the "Megami Tensei" franchise. A separate version for personal computers was co-developed by Atlus and Telenet Japan and published by Telenet Japan during the same year. An enhanced port for the Super Famicom by Opera House was released in 1995.


title: Digital Devil Story: Megami Tensei

text: The story sees Japanese high school students Akemi Nakajima and Yumiko Shirasagi combat the forces of Lucifer, unleashed by a demon summoning program created by Nakajima. The gameplay features first-person dungeon crawling and turn-based battles or negotiation with demons in the Famicom version, and a journey through a hostile labyrinth as Nakajima featuring real-time combat in the Telenet version.


title: Digital Devil Story: Megami Tensei

text: Development on both versions of the video game began as part of a multimedia expansion of Nishitani's book series. Nishitani was deeply involved with the design and scenario. The gameplay mechanics in Atlus' role-playing version of the game were based on the "Wizardry" series, but with an added demon negotiation system considered revolutionary for the time. Atlus and Telenet Japan worked on their projects simultaneously, playing against genre expectations for their respective platforms. The Famicom version proved the more popular with both critics and players, leading to the development of the 1990 sequel "".


title: Digital Devil Story: Megami Tensei

text: The Famicom version of "Digital Devil Story: Megami Tensei" is a traditional role-playing video game in which the player takes control of a party composed of two humans and a number of demons. The party explores a large dungeon using a first-person perspective. The human characters use a variety of weapons and items, with the primary weapons being swords and guns. The items, which can range from healing items to different types of currency, are picked up from enemies or found in chests scattered through the dungeon. Weapons and accessories are purchased at different shops found within the dungeon. Progress is saved using a password system.


title: Digital Devil Story: Megami Tensei

text: Battles are turn-based, with random encounters taking place while exploring dungeons. At the end of a successful battle, experience points, money, and items are obtained. Experience points are shared by Nakajima and Yumiko; by gaining enough experience points, their levels raise, and they are given one ability point each, which can be given to one of five character attributes: strength, intelligence, attack, dexterity, and luck. During battles, the player can try to persuade enemy demons to join them, in exchange for magnetite, money, or items. The player can keep seven demons at a time, of which up to four can be summoned at the same time; summoned demons aid the player in battles with physical and magic attacks, but cost money to summon, and consume magnetite as the player walks around. The demons' attitude towards the player is governed by the moon phase, which cycles through eight phases from new to full. Demons do not level up; instead, the player can create stronger demons by visiting a special location and fusing two of their allied demons together into a new one.


title: Digital Devil Story: Megami Tensei

text: The version for personal computers (PC) is an action role-playing game which plays from a top-down perspective. Controlling Nakajima, the player explores the labyrinthine levels of a dungeon populated by enemies. Combat plays out in real time, with Nakajima fighting demons using both short-range melee attacks and ranged magic attacks. Each section of the dungeon ends in a powerful boss character.


title: Digital Devil Story: Megami Tensei

text: The plot sees Akemi Nakajima, a clever high school student who is the reincarnation of the deity Izanagi, develop a computer program which summons demons from the realm of demons. Initially using his program to gain revenge on his tormentors, the program goes out of control and he unleashes a horde of demons. The demons are commanded by Lucifer, who resurrects the demonic gods Loki and Set following their defeat by Nakajima and Yumiko. With help from his girlfriend Yumiko Shirasagi, a transfer student that became interested in Nakajima and is the reincarnation of the goddess Izanami, Nakajima takes her into the demon world to help combat the demons. The pair travel into a vast subterranean labyrinth, where they defeat Lucifer's generals—the Minotaur, Loki, Medusa, Hecate, and Set—before fighting Lucifer himself and defeating him, closing the entrance to the demon world.


title: Digital Devil Story: Megami Tensei

text: "Digital Devil Story: Megami Tensei" began as a trilogy of science fantasy books written by Japanese author Aya Nishitani. Published by Tokuma Shoten, the novels were a major success in Japan. Nishitani and Tokuma Shoten began working to adapt the books into a multimedia series, beginning with an original video animation (OVA), which retold the events of the first novel, and creating a tie-in video game during the OVA's production. Initially pitched to Nintendo and turned down due to the book's mature elements, the game license was pitched to other publishers. The license to develop a game based on Nishitani's work was simultaneously acquired by two companies; Atlus who applied through Namco, and Telenet Japan. The two companies were willing to work on the same project, but wanted to differentiate their products. As the Famicom was noted for action-based titles and PCs for traditional role-playing games, the two companies decided to respectively play against platform expectations. Two different game projects were created with Tokuma Shoten's supervision under the "Digital Devil Story: Megami Tensei" title; Atlus created a traditional role-playing game which was published by Namco, while Atlus and Telenet collaborated on an action role-playing game which would be published by Telenet. The two versions were developed concurrently, although the version by Telenet was the first to be completed.


title: Digital Devil Story: Megami Tensei

text: The Atlus version was directed by Kouji Okada, while the scenario's original elements were written by Kazunari Suzuki. Sprite and promotional artwork was designed by Esaki Minoru, and the music was composed by Tsukasa Masuko. During the early phases, the gameplay concept was a near-copy of the gameplay style of the "Wizardry" series, attributed by Suzuki to their superiors being fans of the series. Suzuki insisted on the inclusion of some new feature which would distinguish it from "Wizardry". This resulted in the creation of the demon negotiation system. Okada later stated that demon negotiation was decided upon from an early stage. Speaking later about the first-person exploration, Okada was highly critical, feeling that after all their efforts "All we had left after everything was said and done were lots and lots of long, winding dungeons!". Storage space on the cartridge was a recurring concern for the team, with Suzuki using unspecified programming tricks to include high-quality sprite graphics. Due to the rules of the gaming industry at the time, the teams and studios either went uncredited or had pseudonyms, with Masuko being credited as "Project Satan".


title: Digital Devil Story: Megami Tensei

text: Nishitani was deeply involved in planning the game, contributing suggestions and advice for the project. According to Okada, a major issue during development was faithfully following the novel's plot due to the limited hardware space on the Famicom cartridge, together with the necessity of creating a compelling gameplay experience. With this in mind, the team picked out key parts the novel's plot to include in the game while cutting out non-essential elements. One element that was not included was the questionable morality of the main protagonist, which was a prominent feature in the novels. Suzuki later commented that it was only because they were working with Namco that the game was ever released, due to its mature character designs and heavy use of religion in the narrative. The Cerberus demon, which would become a recurring feature in later "Megami Tensei" games, was a homage to the narrative of Nishitani's trilogy, at the same time emulating the trend for games to have a marketable mascot or character.


title: Digital Devil Story: Megami Tensei

text: The PC version of the game was published by Telenet Japan for PC88, MSX, X1 and FM-7 models between July and September 1987. The PC88 version was re-released on April 25, 2006 by Kadokawa Shoten as part of a collection of fifteen games for the platform.


title: Digital Devil Story: Megami Tensei

text: The Famicom version of "Digital Devil Story: Megami Tensei" was published by Namco on September 11, 1987. This version was later re-released through Atlus's dedicated mobile store; first for NTT DoCoMo mobile devices on February 26, 2004, then through the Vodafone live! service on December 1 of that year, and finally for BREW services on September 29, 2005. The mobile versions, while direct ports, featured graphical improvements, automatic mapping of dungeons and the ability to save anywhere in the game. The Famicom version is planned to be re-released as part of "Namcot Collection" volume 3 in October 2020 in Japan.


title: Digital Devil Story: Megami Tensei

text: The game received an enhanced port for the Super Famicom by Japanese developer Opera House, combining the game with its sequel. For this version, the graphics were reworked, the gameplay adjusted, and the demon artwork redrawn by then-established series illustrator Kazuma Kaneko. The music was arranged by Hitoshi Sakimoto. Titled "Kyuuyaku Megami Tensei", the port was released on March 31, 1995. This version was re-released on the Virtual Console for Wii on July 3, 2012.


title: Digital Devil Story: Megami Tensei

text: No version of the game has been released outside Japan. This has been attributed to Nintendo's policy of censoring religious references in games, which rendered the early "Megami Tensei" titles unsuitable for localization due to their central religious elements. A fan translation of "Kyuuyaku Megami Tensei" was released on August 28, 2014.