title: A Murder Is Announced

text: Craddock travels to Scotland to meet Belle. He learns that neither Belle nor Letitia knows where Sonia, Dmitri, Emma, or Pip are now. No-one knows what the grown twins look like. Belle tells about Letitia's sister Charlotte with a goitre. Their father, a doctor, did not believe in goitre surgery. Charlotte became a recluse as her goitre worsened. Dr Blacklock died shortly before the Second World War, and Letitia gave up her job with Goedler to take her sister to Switzerland for surgery. The two sisters waited out the war in Switzerland. Charlotte died suddenly of consumption. Letitia returned to England alone.


title: A Murder Is Announced

text: Miss Marple takes tea with Bunny. Bunny suspects Patrick Simmons; he, his sister Julia, and the young widow named Phillipa Haymes are all staying at Little Paddocks as guests. Bunny mentions that a shepherd lamp and shepherdess lamp in the house have been swapped; their tête-à-tête is interrupted when Letitia arrives.


title: A Murder Is Announced

text: Letitia holds a birthday party for Bunny, inviting almost everyone who was at the house when Scherz was killed. Mitzi, the cook, makes her special cake, nicknamed "Delicious Death". After the party, Bunny has a headache. She takes some aspirin from a bottle in Letitia's room. The next morning, Bunny is found dead, poisoned.


title: A Murder Is Announced

text: Craddock finds that the photos of Sonia Goedler have been removed from old albums. Craddock finds old letters by Letitia to Charlotte in the attic at Little Paddocks. Miss Marple compares one to a current letter.


title: A Murder Is Announced

text: When the vicar's cat shorts out a lamp at the vicarage, the final clue falls into place for Miss Marple.


title: A Murder Is Announced

text: Miss Blacklock receives a letter from the real Julia Simmons, and she confronts her house guest, who reveals herself to be Emma Stamfordis. She denies attempting to kill Miss Blacklock, and says she has not seen her twin Pip since they were toddlers; their parents separated, each taking a child.


title: A Murder Is Announced

text: Misses Hinchcliffe and Murgatroyd, present at the Scherz shooting, work out that Miss Murgatroyd stood behind the opened door and was not blinded by the torch. She could see who was in the room. They realise that the person who left the room when the lights went out came around behind Scherz, and shot him and Miss Blacklock. Just as Miss Murgatroyd realises who was the one person not in the room, the phone rings, summoning Miss Hinchcliffe away. As Hinchcliffe drives away, Murgatroyd runs out, shouting, "She wasn't THERE!". On the way back home, Miss Hinchcliffe offers Miss Marple a ride, and together they discover Murgatroyd's body, strangled. Hinchcliffe tells Miss Marple of their discussion.


title: A Murder Is Announced

text: Inspector Craddock gathers everyone at Little Paddocks, where Mitzi claims to have seen Miss Blacklock shoot Scherz. Craddock dismisses her claim and accuses Edmund Swettenham of being Pip. However, Phillipa Haymes admits that she is Pip. Craddock then accuses Edmund of wanting to marry a rich wife by murdering Miss Blacklock so Phillipa will be wealthy. As Edmund denies this, a scream is heard from the kitchen, where they find Miss Blacklock attempting to drown Mitzi in the sink. When Miss Blacklock hears Dora Bunner's voice telling her to stop, she releases Mitzi, breaks down, and is arrested by Sergeant Fletcher.


title: A Murder Is Announced

text: Miss Marple explains that Letitia died of pneumonia in Switzerland. Aware that Letitia was in line to inherit a fortune, Charlotte posed as her deceased sister and returned to England a year earlier, in a village where few people knew her. She avoided people who knew Letitia well, like Belle Goedler, and covered her throat with strings of pearls to hide the scars from her surgery. Rudi Scherz had innocently recognized her, having worked at the Swiss hospital where she had her surgery; Charlotte killed him to prevent him talking to anyone. She hired Scherz and had him put in the advertisement to gain witnesses. She oiled the door and frayed a lamp cord, which she later shorted by pouring water on it when everyone was distracted by the clock chiming, so the room would be suddenly dark. She had then come behind Scherz and shot him, cutting her own ear with nail scissors before returning. That night, she replaced the frayed lamp with a new one (shepherd vs. shepherdess, as Bunny said). Bunny knew both sisters from childhood. Charlotte had taken Bunny into her confidence about the inheritance but not about the murder of Scherz. Bunny sometimes called her "Lotty" (Charlotte) instead of "Letty" (Letitia); Charlotte feared that Bunny might thereby reveal the truth, so Charlotte had poisoned some aspirin tablets taken by Bunny. Amy Murgatroyd had realised that Miss Blacklock was the one person whose face was not illuminated by Rudi Scherz's torch; Charlotte had overheard Hinchcliffe and Murgatroyd's conversation, and killed Murgatroyd as soon as Hinchcliffe left.


title: A Murder Is Announced

text: Miss Marple persuaded Mitzi and Edmund to play parts in tripping up Charlotte Blacklock; Phillipa's admission to being Pip was not expected; Inspector Craddock kept up the act to claim Edmund was after Phillipa's money. Mitzi had agreed to serve as the bait, and Miss Marple imitated Bunny's voice to cause Charlotte to break down and confess.


title: A Murder Is Announced

text: Ultimately, Mitzi takes up a new post near Southampton. Phillipa and Emma inherit the Goedler fortune. Edmund and Phillipa marry and return to live in Chipping Cleghorn.


title: A Murder Is Announced

text: This novel is set just after World War II. Characters in the novel are still dealing with food rationing and the laws supporting it. This complicates communication with the police, as people in the village use barter as well as the coupons to get the food items they need. Furthermore, the connections among people in a village, and the extent to which they know and accept people new to the village, form an important aspect of this novel.


title: A Murder Is Announced

text: Robert Barnard remarks that Christie's first novel, "The Mysterious Affair at Styles", is "one of the few Christies anchored in time and space: we are in Essex, during the First World War." His commentary on all of Christie's novels and short stories seems to miss the strong ties to time and place in "A Murder Is Announced".


title: A Murder Is Announced

text: Edmund Swettenham announces that he has written "a roaring farce in three acts" titled "Elephants Do Forget". Agatha Christie later wrote a novel named "Elephants Can Remember" featuring Hercule Poirot. "Scherz" was the name of the Swiss publisher (Scherz Verlag) which published "Five Little Pigs" in 1944 in German.


title: A Murder Is Announced

text: A "distantly related" storyline had previously been explored in Christie's Miss Marple short story "The Companion", where the characters also lived in a house called Little Paddocks.


title: A Murder Is Announced

text: Julian MacLaren-Ross in "The Times Literary Supplement" was lavish in his praise of the book, after five years of not reviewing any of Christie's detective novels: "A new novel by Mrs Agatha Christie always deserves to be placed at the head of any list of detective fiction and her fiftieth book, "A Murder is Announced", establishes firmly her claim to the throne of detection. The plot is as ingenious as ever, the writing more careful, the dialogue both wise and witty; while suspense is engendered from the very start, and maintained skilfully until the final revelation: it will be a clever reader indeed who anticipates this, and though Miss Christie is as usual scrupulously fair in scattering her clues, close attention to the text is necessary if a correct solution of the mystery is to be arrived at before the astute Miss Marple unmasks the culprit." The review concluded, "Miss Christie has several surprises up her sleeve besides the main one, and (this much may be said without spoiling the reader's pleasure) she once again breaks new ground by creating a weak and kindly murderer who is yet responsible for the deaths of three people: that such a character should, in the last analysis, seem credible, is a tribute to the author's psychological acumen and originality of concept."


title: A Murder Is Announced

text: Maurice Richardson, in the 4 June 1950 issue of "The Observer", said, "For her fiftieth book she has chosen a snug, residential village setting with her favourite detective, silver-haired, needle-sharp spinster, Miss Marple, making a delayed appearance. Not quite one of her top notchers, but very smooth entertainment. The Prime Minister (Clement Attlee), who is her fervent admirer, might fittingly celebrate this jubilee by making her a Dame." (It took until 1971 for Christie to be awarded the DBE).


title: A Murder Is Announced

text: Norman Shrapnel in "The Guardian"s issue of 9 June 1950 noted that this was Christie's 50th book and said that the murderer was "run to earth in a brilliantly conducted parlour game".


title: A Murder Is Announced

text: An unnamed reviewer in the "Toronto Daily Star" of 30 September 1950 opined that ""A Murder is Announced" displays all the adroit and well-bred legerdemain one has come to expect from Agatha Christie... This jubilee whodunit is as deft and ingenious a fabrication as Agatha Christie has contrived in many a year."


title: A Murder Is Announced

text: Robert Barnard: "Superb reworking of the standard Christie setting and procedures, marred only by an excess of homicide at the end. The book is distantly related to "The Companion", in "The Thirteen Problems"."


title: A Murder Is Announced

text: In the "Binge!" article of "Entertainment Weekly" Issue #1343–44 (26 December 2014 – 3 January 2015), the writers picked "A Murder Is Announced" as an "EW favorite" on the list of the "Nine Great Christie Novels".


title: A Murder Is Announced

text: The novel was serialised in eleven parts in the "Daily Express" from Tuesday 28 February to Saturday 11 March 1950. Five instalments carried an illustration by long-term "Express" artist Andrew Robb. This version did not contain any chapter divisions and contained only about half of the text that appeared in the book publication, totally omitting chapters five, six, seven, fourteen and the epilogue. It had been planned for this serialisation to take place closer to the eventual book publication in June 1950 but it was pulled forward by Christie's literary agent Edmund Cork in an effort to boost interest at the ailing box office for the play "Murder at the Vicarage".


title: A Murder Is Announced

text: In the US, the first serial publication was in the "Chicago Tribune" in forty-nine parts from Monday 17 April to Monday 12 June 1950.


title: A Murder Is Announced

text: The book was heavily promoted upon publication in 1950 as being Christie's fiftieth book, a jubilee publication, although this figure was only arrived at by counting in both UK and US short story collections.


title: A Murder Is Announced

text: The NBC anthology series "Goodyear Playhouse" broadcast an adaptation by William Templeton on 30 December 1956, with Gracie Fields as Miss Marple, Roger Moore as Patrick Simmons and Jessica Tandy as Letitia Blacklock.


title: A Murder Is Announced

text: Leslie Darbon adapted the novel into a stage play in 1977. It was first presented at the Theatre Royal, Brighton, by Peter Saunders – who brought Christie's "The Mousetrap" to the stage – and then on 21 September 1977 at the Vaudeville Theatre, London, which at the time he owned.


title: A Murder Is Announced

text: The play first toured Australia in 2013 with Judi Farr as Miss Marple, Robert Grubb as Inspector Craddock and Libby Munro as Phillipa Haymes, directed by Darren Yap.


title: A Murder Is Announced

text: The novel was adapted by Alan Plater and filmed in 1984 with Joan Hickson as Miss Marple and Ursula Howells as Miss Blacklock, directed by David Giles for the BBC series "Miss Marple". Only a few changes were made: Mitzi was renamed Hannah and is said to be Swiss (in the book, her nationality is unknown) and in the novel the vicarage cat was male and called Tiglath Pileser. In this televised version the cat was female and called Delilah.


title: A Murder Is Announced

text: The novel was adapted for radio by Michael Bakewell, with June Whitfield as Miss Marple and Sarah Lawson as Miss Blacklock, directed by Enyd Williams, in five half-hour episodes. It was first broadcast on BBC Radio 4 in August 1999.


title: A Murder Is Announced

text: In 2005, it was part of the first season of the ITV series "Agatha Christie's Marple" which featured Geraldine McEwan as Miss Marple, Zoë Wanamaker as Letitia Blacklock, Keeley Hawes as Phillipa Haymes, Elaine Paige as Dora Bunner, Cherie Lunghi as Sadie Swettenham, Catherine Tate as Mitzi and Alexander Armstrong as Inspector Craddock. While the basic plot is retained from the novel, most of the characters have been heavily altered.


title: A Murder Is Announced

text: The novel was adapted as a 2015 episode of the French television series "Les Petits Meurtres d'Agatha Christie".


title: A Murder Is Announced

text: TV Asahi adapted the novel in 2019 starring Ikki Sawamura and Mao Daichi, with the title "Drama Special: Agatha Christie's A Murder Is Announced" (). This drama changed the main role to a chief inspector from Tokyo Metropolitan Police Department.


title: Seaman (video game)

text: "Seaman" was released multiple times, including a limited edition version titled "Christmas Seaman" that was released in Japan in 1999, alongside a limited edition red Dreamcast and a PlayStation 2 version in 2001, titled "Seaman: Kindan no Pet - Gaze Hakushi no Jikken Shima," the first edition of which came with a microphone. A PC version for Microsoft Windows was planned, with the Seaman being able to interact with the user's applications. No release date was specified, and it was later cancelled.


title: Seaman (video game)

text: "Seaman" is considered a unique video game because it contains limited action. The player's goal is to feed and care for the Seaman while providing him with the company that he needs. The mechanic operates in real time, so the player is required to check on the Seaman every real-time day or he could die. A portion of the Seaman's knowledge is random trivia. When he asks what the player's birthday is (and the player responds via the microphone input), the Seaman will share significant events that happened on that date.


title: Seaman (video game)

text: Although the Seaman becomes fairly domesticated, it does not stop insulting the player or making less-than-friendly remarks.


title: Seaman (video game)

text: At the beginning of the game, the player is provided with an unhatched Seaman egg and develops and interacts with it through various stages of development. Through various buttons on the Dreamcast controller, the player controls all the machinery and physical contact with the mysterious creature. The player is also provided with multiple Seamen for breeding and interaction purposes. Over the course of the game, the player is required to evolve their Seaman to different stages in its life cycle, eventually transforming into a frog-like creature outlined on the disc's cover.


title: Seaman (video game)

text: The Seaman begins its first days of life as a "Mushroomer", a form which consists of a well-developed optic organ and a flagellum. The Seaman lacks a face and any verbal means of communication. As a Mushroomer, the Seaman is essentially a parasite. After being eaten by a nautilus, it overruns its predator and consumes it from the inside out. Mushroomers tend to stick to one side of the tank by the ends of their flagellum if left alone. In this stage, the player's interaction is somewhat minimal and plays similar to a tutorial, allowing the player to learn to control the heat in the fish tank, direct the Mushroomers, and clean out any filthy water that has accumulated over time.


title: Seaman (video game)

text: After emerging from the deceased body of the nautilus, the organism enters a stage called the "Gillman", which resembles a cyprinid fish with a human face and a tentacle-like tube atop its forehead. During this stage, the Seaman becomes capable of speech but can only communicate in gibberish by reiterating comments made through microphone input. At this point, the player will begin the communication process and continue maintaining the aquarium as the Gillman grows larger, developing scales and a larger vocabulary. As the Gillmen mature, they develop scales and more advanced speaking abilities, but they will soon kill one another until only two remain. Their genders are indeterminate until they mature to the point of being able to be named. Once one is named, it will change its color and sex.


title: Seaman (video game)

text: In its next stage, the Podfish, the Seaman is still fish-like in appearance and is similar to the Gillman but has gained frog-like legs. After mating, the male Podfish dies. The aquarium is also transformed into a terrarium: most of the water is gone, there is new land, and new breathable oxygen. The female then lays its eggs on the shore. Shortly after depositing the eggs, the female also dies, leaving the player a new generation of Seamen in a new evolutionary stage.


title: Seaman (video game)

text: Instead of the introduction of hatching as Mushroomers like the first generation, the player began the game with a new form, the Tadman. They superficially resemble the baby Gillman but instead of a fish-like appearance, they resemble tadpoles. In addition, they still retain the same deep voice that their parents had. As they age, their bodies grow larger and small limbs begin to form. The Tadman eats their fellow siblings until their number is reduced to two. When this happens, the siblings will climb ashore and walk on land, ushering them into their next evolutionary stage.


title: Seaman (video game)

text: The Frogman is the Seaman's final stage of its maturity process. It is an amphibious creature resembling a frog and like the Gillman, it has a human face and a tentacle-like tube atop its forehead. Now able to co-exist between the habitats of water and dry land, the Frogman is now capable of powerful leaps and the consumption of insectoid organisms; however, like the real-world frog, the creature still requires the moisture of water to stay alive. The player is provided with a sprinkler system to remedy this. It is also at this stage where the player releases the seaman into the wild. While anything concerning metamorphosis and reproduction is left to speculation while the Frogmen are in the wild, it can be assumed the Seaman will eventually lay Mushroomer eggs and start the cycle over. This is similar to the reproductive cycle of real-world fungi, which the name Mushroomer may allude to.


title: Seaman (video game)

text: As a new pet owner, the player is given the responsibility of caring for and learning about the enigmatic "Seaman" species using a replica of the discoverer's laboratory. The player must figure everything out by themselves, such as appropriate care, with some guidance from the narrator, Leonard Nimoy.


title: Seaman (video game)

text: The game's manual goes into further detail about the backstory of the seaman species. The manual on page 3 & 11 says to visit the website "www.meetseaman.com" for more information, between 2000 and 2004, it redirected to Yoot.com which expanded on the story in the manual.


title: Seaman (video game)

text: During the 1930s, Dr. Jean-Paul Gassé was a member of a special team of French biologists sent to Egypt by the French government. During that time, Dr. Gassé was determined to research a creature that was an "omnipotent messenger of the gods" among the ruins of the Third Dynasty. In March 1932, in the city of Alexandria, Dr. Gassé met a local resident, who, while fishing, caught a Seaman. Dr. Gassé obtained a sample of some of the Seaman eggs, and went back to France with the egg samples in his possession.


title: Seaman (video game)

text: When Dr. Gassé returned to France, he attempted to raise the eggs, but the Seamen died in his care. Shortly after this, he published a thesis of his work. His hypothesis suggested that the Seaman was responsible for transferring knowledge that increased during the Third Dynasty across oceans and other lands. Leading academics, however, dismissed him and his work as a PR stunt, leveraging the complaint against him that he lacked the proper evidence to support these outlandish findings. As a result, the work was ignored, and no one believed him. Despite its controversy, his theory became the basis for "anthro-bio-archaeology", a highly valued field of study.


title: Seaman (video game)

text: Shortly after publishing his thesis, Dr. Gassé was fired from his post. After his dismissal, news of Gassé’s whereabouts and activities were unknown, and details during those times were sketchy. Rumors began circulating that Dr. Gassé's trail traced to some remote islands in Southeast Asia. It is known, however, that he escaped the horrors of World War II and met up with his Japanese colleague, Kimo Masuda. It became clear that sometime during these years they were able to conduct further research on the Seaman's evolution, quite possibly even up to the creature walking on all fours. Unfortunately, there was very little hard data or evidence that substantiated these findings.


title: Seaman (video game)

text: In March 1996, the French government established the Anthro-Bio-Archeological Research Institute (ABARI), headquartered in Paris. The institute is based on the work of Dr. Gassé, and most of the modern day research of the Seaman specimens has taken place there. In 1997, the ABARI announced there was a strong possibility that these Seaman species were closely related to the origins of ancient civilizations in Egypt. On October 6, 1998, one of Gassé’s formaldehyde specimens is discovered at the University of Paris.


title: Seaman (video game)

text: On February 15, 1999, parts of Gassé's journal and note entries were found in the Masuda family storehouse in the city of Matsusaka in Mie Prefecture, Japan. Professor Kendare Takahashi, who was directing the Japanese branch of the ABARI, successfully managed to breed Seaman eggs in captivity in July the same year. Soon after, Seamen were presented in aquariums across Japan. In July 2000, an expedition team embarked for Egypt in the first major research of Seamen in the wild.


title: Seaman (video game)

text: "Seaman" is one of the few Dreamcast games to take advantage of the microphone attachment. The narration is voiced by Toshiyuki Hosokawa in the original Japanese-language version and by Leonard Nimoy in the English-language version. The face of the Seaman creature is modeled after game's producer, Yoot Saito.


title: Seaman (video game)

text: "Seaman" was developed by Vivarium. It was conceived and designed by Yoot Saito. Saito originally came up with the concept of a joke when one of his coworkers was creating a tropical fish simulator. When Saito told his wife of the concept, she supported the idea despite considering it gross and strange. Saito also shared the concept with Shigeru Miyamoto who also liked the concept and was credited as someone important to the development of the game. "Seaman" was intended to be developed for the Nintendo 64DD, but was instead made for the Dreamcast. The decision to develop the game for the Dreamcast was made when he was introduced to the vice president of Sega, Shoichiro Irimajiri, who thought it could make the console a market leader. The prototype was initially developed on a Macintosh computer, with a year-and-a-half spent on converting it into a Dreamcast game. Near completion of the game, test players attempted to use long sentences to play the game. This caused the Seaman creature to say "Can you say that again?" repeatedly. To fix the issue, Yoot Saito changed the phrasing to say, "You talk too long, I don’t understand" in order to inform players they need to use shorter and simpler sentences to interact with the Seaman creature.


title: Seaman (video game)

text: Localization was handled by Sega of America and spent a total of nine months, where multiple changes to comments were made regarding sex, politics, and slang based on cultural differences. In the Japanese version, the in-game Seaman creature would make comments based on the player's content saved on their memory card but this feature was removed in the English version due to privacy concerns. The creature's personality was different from the English version being more casual and negative.


title: Seaman (video game)

text: A limited-edition titled "Christmas Seaman" was released in Japan on December 16, 1999 alongside an exclusive red Dreamcast. In 2001, "Seaman" was re-released in Japan for the PlayStation 2 as , the first edition of which came with a microphone. A PC version for Microsoft Windows was planned, with the Seaman being able to interact with the user's applications. No release date was specified, and was later cancelled.


title: Seaman (video game)

text: As of February 1, 2004, the Dreamcast version of "Seaman" sold 399,342 copies in Japan, making it the third best-selling Dreamcast game in the region at the time. The PlayStation 2 version of the game sold 305,632 in Japan as of November 2, 2008. It received an Excellence Award for Interactive Art at the 1999 Japan Media Arts Festival and received the Original Game Character of the Year award at GDC 2002. In 2008, "Game Informer" named the game one of the top ten weirdest games of all time.


title: Seaman (video game)

text: Greg Orlando reviewed the Dreamcast version of the game for "Next Generation", praising the game and stating, "the gentle art of conversation meets "Resident Evil" – and the Dreamcast gets its most bizarre title ever".


title: The Last of Us Part I

text: The Last of Us Part I is a 2022 action-adventure game developed by Naughty Dog and published by Sony Interactive Entertainment. A remake of the 2013 game "The Last of Us", it features revised gameplay, including enhanced combat and exploration, and expanded accessibility options. The single-player story follows Joel, who is tasked with escorting the young Ellie across a post-apocalyptic United States and defend against cannibalistic creatures infected by a mutated strain of the "Cordyceps" fungus. The game includes the expansion "", a single-player campaign following Ellie and her best friend Riley. The original game's online multiplayer mode is omitted.


title: The Last of Us Part I

text: Development was led by game director Matthew Gallant and creative director Shaun Escayg, who replaced original directors Bruce Straley and Neil Druckmann, respectively. The game was rebuilt to take advantage of updated hardware, requiring new animations, art direction, and character models to align with the vision of the original game's development team. The visual departments analyzed the original cutscenes and narrative beats to identify crucial storylines and their original direction and purpose. The team expanded upon the gameplay, technology, and accessibility features of "The Last of Us Part II" (2020), using its game engine and building upon it with the updated technology. The cutscenes feature audio descriptions, for which the developers collaborated with Descriptive Video Works. The game supports 3D audio, as well as the haptic feedback and adaptive triggers of the DualSense controller.


title: The Last of Us Part I

text: Following several leaks, the game was announced in June 2022 and released for PlayStation 5 on September 2; it is scheduled to release for Windows on March 3, 2023. It received positive reviews, with praise for its graphical enhancements, facial animations, artificial intelligence, and its added accessibility, audio, and controller options; the response to its gameplay and level design was mixed, and several critics questioned the necessity of a remake, especially considering its price. The game received nominations at The Game Awards and Golden Joystick Awards.


title: The Last of Us Part I

text: "The Last of Us Part I" is a remake of the 2013 video game "The Last of Us", an action-adventure game played from a third-person perspective. The player traverses post-apocalyptic environments to advance the story, and uses firearms, improvised weapons, hand-to-hand combat, and stealth to defend against hostile humans and cannibalistic creatures known as the Infected, who have been infected by a mutated strain of the "Cordyceps" fungus. For most of the game, player character Joel escorts a young girl, Ellie, across the United States. The player controls Ellie throughout the winter segment, and briefly controls Joel's daughter Sarah in the opening sequence. In the included expansion "", the player controls Ellie as she spends time with her best friend and love interest Riley Abel. The original game's online multiplayer mode is omitted from "PartI", and its narrative is entirely unchanged.


title: The Last of Us Part I

text: The remake features revised gameplay, including enhanced combat and exploration. The overhauled artificial intelligence (AI) allows more non-player characters (NPCs) on screen, with enemy AI acting more aggressive and tactical than in the original game. The Infected received some gameplay adaptations, such as new Stalker animations and a charge move for Bloaters. New gameplay additions include a permadeath mode, a speedrun-focused mode, and new costumes for Joel and Ellie. The expanded accessibility options include customizable controls, audio description for cutscenes, and haptic feedback during dialogue; difficulty modes can be customized to change enemy resilience, stealth efficacy, and resource availability. The overhauled photo mode adds several bonus features, allowing visual and gameplay modifiers such as slow motion and infinite ammunition.


title: The Last of Us Part I

text: On PlayStation 5, the game supports hardware features such as 3D audio, and uses the haptic feedback and adaptive triggers of the DualSense controller to emulate gameplay actions such as shooting a shotgun or drawing a bowstring. It can display at native 4K resolution at 30 frames per second, or upscaled resolution at a targeted 60 frames per second; with variable refresh rate enabled, both modes allow an unlocked frame rate, capable of more than 60 frames per second.


title: The Last of Us Part I

text: "The Last of Us Part I" was developed by Naughty Dog and published by Sony Interactive Entertainment. Development was led by game director Matthew Gallant and creative director Shaun Escayg, who replaced original directors Bruce Straley and Neil Druckmann, respectively. Gallant previously worked as a combat designer on the original game and "" (2016), and became lead systems designer on "The Last of Us Part II" (2020), co-leading its accessibility features. Escayg was lead cinematic animator on "The Last of Us"—his first game—and creative director on "" (2017), followed by his work as creative director and co-writer of "Marvel's Avengers" (2020) at Crystal Dynamics, before returning to Naughty Dog in April 2021. Splitting their directing duties, Escayg took responsibility for the cinematics. Gallant found he resonated with the themes much more closely than during the development of the original game, having become a father in the interim. According to Escayg, the team approached the remake as "a love letter to our fans, to the franchise, and to ourselves as developers"; they felt a responsibility to preserve its essence and quality. Several of the creative leadership team of "Part I" worked on the original game.


title: The Last of Us Part I

text: Naughty Dog hoped the remake would allow "Part I" and "Part II" to be played sequentially with no technological or visual discrepencies. They felt new audiences, such as viewers of the upcoming television adaptation and new PlayStation 5 players, could be reached. The remake was partially inspired by "Part II" flashback scenes, for which the team rebuilt areas and assets from the original game: Gallant said that several team members pondered if "the whole game looked as good as those flashback sequences, how exciting that would be". Development began by transitioning the game to "Part II"s updated game engine. The game was rebuilt to use the PlayStation 5 hardware, requiring new art direction, animation, and character models. The technological and graphical enhancements were intended to align with the vision of the original game's team. Escayg wanted each element to make the player feel grounded and immersed in the world. The team re-evaluated thousands of "micro decisions" during development, removing objects deemed unimportant or distracting and detailing or redesigning those that required improvements. Areas were re-evaluated to determine if their designs were a result of the PlayStation 3's technical limitations; where appropriate, some areas were rebuilt or further detailed.


title: The Last of Us Part I

text: The developers rationalized the rebuilt accessibility features as important to the remake. They expanded the features from "Part II"—assisted by "Part I" being built in "Part II"s engine—with three presets configuring settings recommended for players requiring hearing, motor, or visual aids. During the development of "The Last of Us Part II", blind accessibility consultant Brandon Cole noted that visually-impaired players missed environmental context and the unspoken interactions between characters, but the production timeline limited the team's ability to implement a solution. Gallant revisited the idea for "PartI" and collaborated with Descriptive Video Works to create audio descriptions for cutscenes. Writing and recording the audio descriptions caused difficulties, as they had to convey the information succinctly while maintaining the context and themes. The customizable vibration options were inspired by a review of "" (2022) from "Can I Play That?", which criticized the lack of variability. The team identified sequences that would present accessibility problems—such as the arcade sequence in "Left Behind"—and engaged several consultants for assistance, including Cole.


title: The Last of Us Part I

text: The combat system—particularly melee—evolved using development tools from "The Last of Us Part II". The team felt that the original game's combat sequences were iconic and required no significant overhaul; they forwent the ability to go prone in gameplay—a feature added in "Part II"—as it would have "broken the gameplay and the combat space" since the original game was not built for it. "Part II"s dodge mechanic was similarly omitted as it required reworking both enemy attacks and the gameplay space, and would diminish the claustrophobia and tension of the fights; Gallant noted that "Joel fundamentally needs to "feel" different than playing as Ellie", "Part II"s playable protagonist. PlayStation 3 hardware limitations forced the original team to "hack together" combat sequences, including some that are pre-scripted; advancements on the PlayStation 5 allowed the developers to create dynamic encounters, with AI directing the enemy non-playable characters (NPCs) to investigate and analyze with more accuracy. The fundamental AI technology built upon "Part II"s. While the original game was limited to eight NPCs during enemy encounters—forcing some to disregard the player in the presence of others—the PlayStation 5 allows up to 128 active NPCs focusing on the player. In some instances, the original game could not have both male and female Infected fighting simultaneously, which was corrected in the remake. Gallant found the new technology made gameplay sequences more unpredictable.


title: The Last of Us Part I

text: The visual departments analyzed the original game to understand it better, focusing development resources on the most crucial scenes and storylines to maximize their impact. Rather than simply improving the visuals, the team analyzed its cutscenes and narrative beats, employing modernized techniques to emphasize story moments. Art director Erick Pangilinan ensured that the team remembered the original direction and purpose behind each scene; in some instances during development, they lost track of the original purpose, which would impact other scenes later on. The original game's vision was to emphasize the world's beauty, as opposed to a visually dark and dystopian image; art director Sebastian Gromann felt that PlayStation 5 allowed a truer realization of this vision, particularly due to the more complex models and shaders allowing increased fidelity and volume of foliage. Characters and environments benefited from an increased polygon count. The original motion capture data was used for the cinematics, with the facial animation overhauled to more closely resemble the original performances. The remake was considered a good opportunity to expand some environments, such as adding detail and items to the back offices of the Boston museum, and visually shifting the university section for a more claustrophobic feeling. The team forced themselves to pull back on some additions as they failed to heighten the experience or fit within the narrative context; trees and overgrowth were initially added to the military city, but removed when the team realized it would be unrealistic in the setting.


title: The Last of Us Part I

text: The addition of a speedrunning mode was suggested by one of the team members interested in the field, and the developers consulted with professional speedrunners. Gallant felt the permadeath mode raised the stakes of the original game's already-tense combat. The developers used the PlayStation 5's Tempest Engine—an evolution of technology from the PlayStation 4—to render the 3D audio, including during quieter moments of dialogue. Audio programmers spent over a year reworking Naughty Dog's audio engine, as it was incompatible with the Tempest Engine's features. The audio mixing and mastering processes were overhauled for increased clarity and fidelity. The team reused much of the sound from the original game as they considered it iconic; some of the re-recorded audio included the workbench upgrades, as well as murmuration for the Infected, introduced in "Part II". The actors' original performances were maintained.


title: The Last of Us Part I

text: The existence of a remake of "The Last of Us" was first reported in April 2021 by "Bloomberg News"s Jason Schreier. The report claimed that the game, codenamed "T1X", had started at Sony's Visual Arts Support Group studio but was later moved under Naughty Dog's budget after some staff joined the project in 2020. A PlayStation Store listing with a trailer and information about the game was prematurely released on June 9, 2022. The game was announced later that day at Summer Game Fest. It was released for PlayStation 5 on September 2, 2022, and is scheduled to release for Windows on March 3, 2023. Reactions to the remake's announcement were mixed, as some journalists and players considered another release following "The Last of Us Remastered" superfluous and questioned the price point.


title: The Last of Us Part I

text: Naughty Dog announced special edition versions that grant in-game upgrades and skills; the physical special edition includes a Steelbook case and the comic series "" (2013) with new cover art. All key art and covers were designed by David Blatt, known as Kopfstoff, who was contracted after becoming known for his fan art of the games. The United States-exclusive Firefly Edition sold out within an hour of its announcement; it received a restock at release, which sold out within seconds. Several players reported receiving damaged versions of the Firefly Edition due to poor packaging; Sony reportedly offered store discounts or refunds in some instances, but did not provide replacements. Development of "The Last of Us PartI" ceased by July 11 as the game was submitted for manufacturing. According to principal environment artist Anthony Vaccaro, the development did not involve any crunch, unlike several of Naughty Dog's previous games. The final pre-launch trailer was released on August 24, 2022. A trailer announcing the Windows release date was aired during The Game Awards 2022.


title: The Last of Us Part I

text: "The Last of Us PartI" received "generally favorable reviews", according to review aggregator Metacritic, based on 114 reviews for the PlayStation 5 version. It was praised for its graphical enhancements, updated facial animations, improved enemy and character AI, and its added accessibility, audio, and controller options, though the response to its gameplay and level design was mixed. Many reviewers considered it the definitive version of the game; "VG247"s Tom Orry named it "one of the best remakes I've ever played". Several reviewers questioned the necessity of the game, especially considering its price point and the existence of "The Last of Us Remastered"; conversely, some critics compared it to a film remaster on an Ultra HD Blu-ray, seen as an acceptable practice in its industry. The omission of the multiplayer mode was lamented by critics. "GameRevolution"s Jason Faulkner found the absence of story additions to be "some huge missed opportunities", and "Game Informer"s Blake Hester felt the lack of narrative changes exacerbated the outdated presentation of its themes.


title: The Last of Us Part I

text: "IGN"s Luke Reilly considered the game an effective graphical showcase for the PlayStation 5. Michael Goroff of "Electronic Gaming Monthly" ("EGM") wrote that while the original game captured how players visualized a post-apocalyptic world, the remake's art style and graphics are more akin to how Joel or Ellie saw the world: "overgrown and dingy ... but it can also be beautiful or even mundane". "The Verge"s Andrew Webster compared the improved graphics to modern blockbusters, and "Siliconera"s Josh Tolentino wrote that it matched his memory of the original. "Ars Technica"s Sam Machkovech praised the visual improvements but felt that the original did not require a full overhaul like "Demon's Souls" (2020), while "Shacknews"s TJ Denzer criticized the fuzzier visuals of Listen Mode. Critics praised the improved lighting system and minimalized user interface; "The Telegraph"s Dan Silver considered the former award-worthy, and "EGM"s Goroff felt the game never lost its narrative tone despite more realistic lighting.


title: The Last of Us Part I

text: Several reviewers considered the improved character models and facial animation the remake's greatest feature. "EGM"s Goroff and "IGN"s Reilly found they made the acting more effective, with new microexpressions adding depth to each character, which "Ars Technica"s Machkovech compared to awarded film performances. "Game Informer"s Hester similarly observed the performances as more accurate and emotive without the original's awkwardness, and "Video Games Chronicle"s Jordan Middler found the remake captured the intention of story and character moments where the original technologically could not. Alex Avard of "GamesRadar+" felt that even briefly-seen NPCs looked better than Joel and Ellie did in the original, and Denzer of "Shacknews" said that the characters "look far less doll-like and emote far better".


title: The Last of Us Part I

text: Critics praised improvements to enemy and companion AI. "Ars Technica"s Machkovech compared the combat sequences to the original game's scripted reveal trailer, and "GameSpot"s Jake Dekker found the improvements led to more tense and difficult encounters. "Hardcore Gamer"s Kevin Dunsmore echoed this sentiment but noted some "wonkiness remains" from the original, with companions failing to follow correct paths. "IGN"s Reilly lamented the omission of "Part II"s pre-scripted enemy names but otherwise praised the improvements to enemy AI. "Siliconera"s Tolentino found the changes superficial due to the identical map layouts and encounter designs, while "EGM"s Goroff felt the behavior remained simplistic, with enemies hasty to approach their fallen allies.


title: The Last of Us Part I

text: "GameSpot"s Dekker found the gameplay improved in line with the story, with more responsive aiming, heavier weapons, and easier movements. "The Telegraph"s Silver found the updated controls made combat smoother, while "VG247"s Orry said they retained "a slight clunkiness" but ultimately led to more tense gameplay encounters. Gene Park of "The Washington Post" lauded the realistic gun controls and called Joel's movement "appropriately heavy"; likewise, Reilly of "IGN" noted that Joel and Ellie felt weightier and more realistic but lamented the lack of "Part II"s dodge mechanic. Other reviewers similarly felt that combat and level design failed to compare to "Part II"s, though recognized the former as a vast improvement of the original. "GamesRadar+"s Avard found the combat changes minimal, while "Ars Technica"s Machkovech felt the gameplay "still feels like a PlayStation 3 game" at worst. "The A.V. Club"s William Hughes enjoyed the combat but found it could occasionally "tip over from 'exhilarating' to 'frustrating.


title: The Last of Us Part I

text: Reviewers praised the new options and features. "GameSpot"s Dekker wrote that "The Last of Us PartI" "sets a new standard for accessibility in games". "Siliconera"s Tolentino called it one of the most accessible games, and "Ars Technica"s Machkovech found its options more robust than any other. "The A.V. Club"s Hughes considered the accessibility options the only worthy addition, and "Shacknews"s Denzer highlighted the cutscene audio descriptions as a standout option. Ben Bayliss of "Can I Play That?" lauded the range of features for demonstrating "what is possible when a remake is done well", though noted some mobility issues and criticized the complexity required to balance different options. Critics lauded the use of the DualSense's haptic feedback, considered among the best uses to date alongside "Astro's Playroom" (2020). "VideoGamer.com"s Josh Wise felt the controller "added crunch the combat" and "The Verge"s Webster lauded its use of the bow. "GamesRadar+"s Avard found that 3D audio made the Infected more terrifying; the tension and horror led "The Verge" Webster to play without headphones and "VG247"s Orry to mute the sound, while "Push Square"s Barker noted its effectiveness led to limited usage of Listen Mode.


title: The Last of Us Part I

text: "The Last of Us Part I" was nominated for PlayStation Game of the Year at the 40th Golden Joystick Awards, and was nominated for Innovation in Accessibility at The Game Awards 2022.


title: The Last of Us Part I

text: In the United States, "The Last of Us PartI" was the fifth-best-selling game of September, and the fourth-best-selling PlayStation game. In the United Kingdom, it topped the weekly physical sales chart within its opening weekend, and dropped to fourth in its second week; combining digital and physical sales, it was the fifth-best-selling game of the month. It was the third-most-downloaded PlayStation 5 game of September in Europe and North America. In Japan, it was the fifth-best-selling retail game of its first week, with 10,954 copies sold.


title: Tezpur

text: Tezpur () is a city and urban agglomeration in Sonitpur district, Assam state, India. Tezpur is located on the banks of the river Brahmaputra, northeast of Guwahati, and is the largest of the north bank cities with a population exceeding 100,000 as per Metropolitan Census 2011.


title: Tezpur

text: The average high temperature in summer is around while the average winter low temperature is around .


title: Tezpur

text: Tezpur city (M.C) area have a population of 102,505 as per 2011 census. Assamese is Spoken by 40,837 people, Bengali at 18,696, Hindi at 11,050 and 31,920 people speak other languages.


title: Tezpur

text: Tezpur is part of Tezpur (Lok Sabha constituency). The current member of parliament from Tezpur constituency is Mr. Pallab Lochan Das.


title: Baden

text: Baden (; ) is a historical territory in South Germany, in earlier times on both sides of the Upper Rhine but since the Napoleonic Wars only East of the Rhine.


title: Baden

text: The margraves of Baden originated from the House of Zähringen. Baden is named after the margraves' residence, in Baden-Baden. Hermann II of Baden first claimed the title of Margrave of Baden in 1112. A united Margraviate of Baden existed from this time until 1535, when it was split into the two Margraviates of Baden-Durlach and Baden-Baden. Following a devastating fire in Baden-Baden in 1689, the capital was moved to Rastatt.


title: Baden

text: The two parts were reunited in 1771 under Margrave Charles Frederick. The restored Margraviate with its capital Karlsruhe was elevated to the status of electorate in 1803. In 1806, the Electorate of Baden, receiving territorial additions, became the Grand Duchy of Baden.


title: Baden

text: The Grand Duchy of Baden was a state within the German Confederation until 1866 and the German Empire until 1918, succeeded by the Republic of Baden within the Weimar Republic and Nazi Germany. From 1945 to 1952, South Baden and Württemberg-Baden were territories under French and American occupation, respectively. They were united with Württemberg-Hohenzollern to form the modern Federal State of Baden-Württemberg in 1952.


title: Baden

text: Baden lies in the southwest of Germany, with most of its major cities on the Upper Rhine Plain. Bounded by Lake Constance on the south and by the river Rhine on the south and west, the region of Baden stretches from the Linzgau, Lörrach and Freiburg im Breisgau to Karlsruhe and then on to Mannheim, leading to the Main and Tauber rivers.


title: Baden

text: To its west lies the French historical region of Alsace, to its south Switzerland, the Palatinate to its northwest, Hesse to the north, and parts of Bavaria to the northeast. Its eastern border with the region of Württemberg runs from the Kraichgau through the Black Forest, and from some parts of the forest to the Rhine the distances become as low as in the so-called "Wespentaille" near Gaggenau.


title: Dynamic web page

text: A server-side dynamic web page is a web page whose construction is controlled by an application server processing server-side scripts. In server-side scripting, parameters determine how the assembly of every new web page proceeds, and including the setting up of more client-side processing.


title: Dynamic web page

text: A client-side dynamic web page processes the web page using JavaScript running in the browser as it loads. JavaScript can interact with the page via Document Object Model, or DOM, to query page state and modify it. Even though a web page can be dynamic on the client-side, it can still be hosted on a static hosting service such as GitHub Pages or Amazon S3 as long as there isn't any server-side code included.


title: Dynamic web page

text: A dynamic web page is then reloaded by the user or by a computer program to change some variable content. The updating information could come from the server, or from changes made to that page's DOM. This may or may not truncate the browsing history or create a saved version to go back to, but a "dynamic web page update" using AJAX technologies will neither create a page to go back to, nor truncate the web browsing history forward of the displayed page. Using AJAX, the end user gets one dynamic page managed as a single page in the web browser while the actual web content rendered on that page can vary. The AJAX engine sits only on the browser requesting parts of its DOM, "the" DOM, for its client, from an application server. A particular application server could offer a standardized REST style interface to offer services to the web application.


title: Dynamic web page

text: DHTML is the umbrella term for technologies and methods used to create web pages that are not static web pages, though it has fallen out of common use since the popularization of AJAX, a term which is now itself rarely used. Client-side-scripting, server-side scripting, or a combination of these make for the dynamic web experience in a browser.


title: Dynamic web page

text: Classical hypertext navigation, with HTML or XHTML alone, provides "static" content, meaning that the user requests a web page and simply views the page and the information on that page.


title: Dynamic web page

text: However, a web page can also provide a "live", "dynamic", or "interactive" user experience. Content (text, images, form fields, etc.) on a web page can change, in response to different contexts or conditions.


title: Dynamic web page

text: Web pages that use client-side scripting must use presentation technology broadly called rich interfaced pages. Client-side scripting languages like JavaScript or ActionScript, used for Dynamic HTML (DHTML) and Flash technologies respectively, are frequently used to orchestrate media types (sound, animations, changing text, etc.) of the presentation. The scripting also allows use of remote scripting, a technique by which the DHTML page requests additional information from a server, using a hidden Frame, XMLHttpRequests, or a web service.


title: Dynamic web page

text: Web pages that use server-side scripting are often created with the help of server-side languages such as PHP, Perl, ASP, ASP.NET, JSP, ColdFusion and other languages. These server-side languages typically use the Common Gateway Interface (CGI) to produce "dynamic web pages". These kinds of pages can also use, on the client-side, the first kind (DHTML, etc.).


title: Dynamic web page

text: It is difficult to be precise about "dynamic web page beginnings" or chronology because the precise concept makes sense only after the "widespread development of web pages". HTTP has been in use since 1990, HTML, as standard, since 1996. The web browser's rise in popularity started with Mosaic in 1993. It is obvious, however, that the concept of dynamically driven websites predates the Internet, and in fact HTML. For example, in 1990, before general public use of the Internet, a dynamically driven remotely accessed menu system was implemented by Susan Biddlecomb, who was Director of Computer Support of the USC Health Care system at the University of Southern California BBS on a 16 line TBBS system with TDBS add-on.database. Between 1995 and 1996 Coldfusion, WebObjects, PHP and Active Server Pages were introduced to the market.


title: Dynamic web page

text: The introduction of JavaScript (then known as LiveScript) enabled the production of client-side dynamic web pages, with JavaScript code executed in the client's browser. The letter "J" in the term AJAX originally indicated the use of JavaScript, as well as XML. With the rise of server side JavaScript processing, for example, Node.js, originally developed in 2009, JavaScript is also used to dynamically create pages on the server that are sent fully formed to clients.


title: Dynamic web page

text: MediaWiki, the content management system that powers Wikipedia, is an example for an originally server-side dynamic web page, interacted with through form submissions and URL parameters. Throughout time, progressively enhancing extensions such as the visual editor have also added elements that are dynamic on the client side, while the original dynamic server-side elements such as the classic edit form remain available to be fallen back on (graceful degradation) in case of error or incompatibility.


title: Dynamic web page

text: A program running on a web server (server-side scripting) is used to generate the web content on various web pages, manage user sessions, and control workflow. Server responses may be determined by such conditions as data in a posted HTML form, parameters in the URL, the type of browser being used, the passage of time, or a database or server state.


title: Dynamic web page

text: Such web pages are often created with the help of server-side languages such as ASP, ColdFusion, Go, JavaScript, Perl, PHP, Ruby, Python, WebDNA and other languages, by a support server that can run on the same hardware as the web server. These server-side languages often use the Common Gateway Interface (CGI) to produce dynamic web pages. Two notable exceptions are ASP.NET, and JSP, which reuse CGI concepts in their APIs but actually dispatch all web requests into a shared virtual machine.


title: Dynamic web page

text: The server-side languages are used to embed tags or markers within the source file of the web page on the web server. When a user on a client computer requests that web page, the web server interprets these tags or markers to perform actions on the server. For example, the server may be instructed to insert information from a database or information such as the current date.


title: Dynamic web page

text: Dynamic web pages are often cached when there are few or no changes expected and the page is anticipated to receive considerable amount of web traffic that would wastefully strain the server and slow down page loading if it had to generate the pages on the fly for each request.


title: Dynamic web page

text: Client-side scripting is changing interface behaviors within a specific web page in response to input device actions, or at specified timing events. In this case, the dynamic behavior occurs within the presentation. The client-side content is generated on the user's local computer system.


title: Dynamic web page

text: Such web pages use presentation technology called rich interfaced pages. Client-side scripting languages like JavaScript or ActionScript, used for Dynamic HTML (DHTML) and Flash technologies respectively, are frequently used to orchestrate media types (sound, animations, changing text, etc.) of the presentation. Client-side scripting also allows the use of remote scripting, a technique by which the DHTML page requests additional information from a server, using a hidden frame, XMLHttpRequests, or a Web service.


title: Dynamic web page

text: The first widespread use of JavaScript was in 1997, when the language was standardized as ECMAScript and implemented in Netscape 3.


title: Dynamic web page

text: The client-side content is generated on the client's computer. The web browser retrieves a page from the server, then processes the code embedded in the page (typically written in JavaScript) and displays the retrieved page's content to the user.


title: Dynamic web page

text: The codice_1 property (or write command) can illustrate the client-side dynamic page generation: two distinct pages, A and B, can be regenerated (by an "event response dynamic") as codice_2 and codice_3; or "on load dynamic" by codice_4 and codice_5.


title: Dynamic web page

text: All of the client and server components that collectively build a dynamic web page are called a web application. Web applications manage user interactions, state, security, and performance.


title: Dynamic web page

text: Ajax uses a combination of both client-side scripting and server-side requests. It is a web application development technique for dynamically interchanging content, and it sends requests to the server for data in order to do so. The server returns the requested data which is then processed by a client-side script. This technique can reduce server load time because the client does not request the entire webpage to be regenerated by the server's language parser; only the content that will change is transmitted. Google Maps is an example of a web application that uses Ajax techniques.


title: Dynamic web page

text: A web client, such as a web browser, can act as its own server, accessing data from many different servers, such as Gopher, FTP, NNTP (Usenet) and HTTP, to build a page. HTTP supports uploading documents from the client back to the server. There are several HTTP methods for doing this.


title: Earth's energy budget

text: Earth's energy budget accounts for the balance between the energy that Earth receives from the Sun and the energy the Earth loses back into outer space. Smaller energy sources, such as Earth's internal heat, are taken into consideration, but make a tiny contribution compared to solar energy. The energy budget also accounts for how energy moves through the climate system. Because the Sun heats the equatorial tropics more than the polar regions, received solar irradiance is unevenly distributed. As the energy seeks equilibrium across the planet, it drives interactions in Earth's climate system, i.e., Earth's water, ice, atmosphere, rocky crust, and all living things. The result is Earth's climate.


title: Earth's energy budget

text: Earth's energy budget depends on many factors, such as atmospheric aerosols, greenhouse gases, the planet's surface albedo (reflectivity), clouds, vegetation, land use patterns, and more. When the incoming and outgoing energy fluxes are in balance, Earth is in radiative equilibrium and the climate system will be "relatively" stable. Global warming occurs when earth receives more energy than it gives back to space, and global cooling takes place when the outgoing energy is greater. Multiple types of measurements and observations show a warming imbalance since at least year 1970. The rate of heating from this human-caused event is without precedent.


title: Earth's energy budget

text: When the energy budget changes, there is a delay before average global surface temperature changes significantly. This is due to the thermal inertia of the oceans, land and cryosphere. Accurate quantification of these energy flows and storage amounts is a requirement within most climate models.


title: Earth's energy budget

text: In spite of the enormous transfers of energy into and from the Earth, it maintains a relatively constant temperature because, as a whole, there is little net gain or loss: Earth emits via atmospheric and terrestrial radiation (shifted to longer electromagnetic wavelengths) to space about the same amount of energy as it receives via solar insolation (all forms of electromagnetic radiation).


title: Earth's energy budget

text: The total amount of energy received per second at the top of Earth's atmosphere (TOA) is measured in watts and is given by the solar constant times the cross-sectional area of the Earth corresponded to the radiation. Because the surface area of a sphere is four times the cross-sectional area of a sphere (i.e. the area of a circle), the globally and yearly averaged TOA flux is one quarter of the solar constant and so is approximately 340 watts per square meter (W/m). Since the absorption varies with location as well as with diurnal, seasonal and annual variations, the numbers quoted are multi-year averages obtained from multiple satellite measurements.


title: Earth's energy budget

text: Of the ~340 W/m of solar radiation received by the Earth, an average of ~77 W/m is reflected back to space by clouds and the atmosphere and ~23 W/m is reflected by the surface albedo, leaving ~240 W/m of solar energy input to the Earth's energy budget. This amount is called the absorbed solar radiation (ASR). It implies a value of about 0.3 for the mean net albedo of Earth, also called its Bond albedo (A):


title: Earth's energy budget

text: Outgoing longwave radiation (OLR) is usually defined as outgoing energy leaving the planet, most of which is in the infrared band. Generally, absorbed solar energy is converted to different forms of heat energy. Some of this energy is emitted as OLR directly to space, while the rest is first transported through the climate system as radiant and other forms of thermal energy. For example, indirect emissions occur following heat transport from the planet's surface layers (land and ocean) to the atmosphere via evapotranspiration and latent heat fluxes or conduction/convection processes. Ultimately, all of outgoing energy is radiated in the form of longwave radiation back into space.


title: Earth's energy budget

text: The transport of OLR from Earth's surface through its multi-layered atmosphere follows Kirchoff's law of thermal radiation. A one-layer model produces an approximate description of OLR which yields temperatures at the surface (T=288 Kelvin) and at the middle of the troposphere (T=242 Kelvin) that are close to observed average values:


title: Earth's energy budget

text: In this expression σ is the Stefan-Boltzmann constant and ε represents the emissivity of the atmosphere. Aerosols, clouds, water vapor, and trace greenhouse gases contribute to an average value of about ε=0.78. The strong (fourth-power) temperature sensitivity acts to help maintain a near-balance of the outgoing energy flow to the incoming flow via small changes in the planet's absolute temperatures.


title: Earth's energy budget

text: The geothermal heat flow from the Earth's interior is estimated to be 47 terawatts (TW) and split approximately equally between radiogenic heat and heat left over from the Earth's formation. This corresponds to an average flux of 0.087 W/m and represents only 0.027% of Earth's total energy budget at the surface, being dwarfed by the 173,000 TW of incoming solar radiation.


title: Earth's energy budget

text: Human production of energy is even lower at an estimated 160,000 TW-hr for all of year 2019. This corresponds to an average continuous heat flow of about 18 TW. However, consumption is growing rapidly and energy production with fossil fuels also produces an increase in atmospheric greenhouse gases, leading to a more than 20 times larger imbalance in the incoming/outgoing flows that originate from solar radiation.


title: Earth's energy budget

text: Photosynthesis also has a significant effect: An estimated 140 TW (or around 0.08%) of incident energy gets captured by photosynthesis, giving energy to plants to produce biomass. A similar flow of thermal energy is released over the course of a year when plants are used as food or fuel.


title: Earth's energy budget

text: Other minor sources of energy are usually ignored in the calculations, including accretion of interplanetary dust and solar wind, light from stars other than the Sun and the thermal radiation from space. Earlier, Joseph Fourier had claimed that deep space radiation was significant in a paper often cited as the first on the greenhouse effect.


title: Earth's energy budget

text: In simplest terms, Earth's energy budget is balanced when the incoming flow equals the outgoing flow. Since a portion of incoming energy is directly reflected, the balance can also be stated as absorbed incoming solar (shortwave) radiation equal to outgoing longwave radiation:


title: Earth's energy budget

text: To describe some of the internal flows within the budget, let the insolation received at the top of the atmosphere be 100 units (=340 W/m), as shown in the accompanying Sankey diagram. Called the albedo of Earth, around 35 units in this example are directly reflected back to space: 27 from the top of clouds, 2 from snow and ice-covered areas, and 6 by other parts of the atmosphere. The 65 remaining units (ASR=220 W/m) are absorbed: 14 within the atmosphere and 51 by the Earth's surface.


title: Earth's energy budget

text: The 51 units reaching and absorbed by the surface are emitted back to space through various forms of terrestrial energy: 17 directly radiated to space and 34 absorbed by the atmosphere (19 through latent heat of vaporisation, 9 via convection and turbulence, and 6 as absorbed infrared by greenhouse gases). The 48 units absorbed by the atmosphere (34 units from terrestrial energy and 14 from insolation) are then finally radiated back to space. This simplified example neglects some details of mechanisms that recirculate, store, and thus lead to further buildup of heat near the surface.


title: Earth's energy budget

text: Ultimately the 65 units (17 from the ground and 48 from the atmosphere) are emitted as OLR. They approximately balance the 65 units (ASR) absorbed from the sun in order to maintain a net-zero gain of energy by Earth.


title: Earth's energy budget

text: The major atmospheric gases (oxygen and nitrogen) are transparent to incoming sunlight but are also transparent to outgoing longwave (thermal/infrared) radiation. However, water vapor, carbon dioxide, methane and other trace gases are opaque to many wavelengths of thermal radiation.


title: Earth's energy budget

text: When greenhouse gas molecules absorb thermal infrared energy, their temperature rises. Those gases then radiate an increased amount of thermal infrared energy in all directions. Heat radiated upward continues to encounter greenhouse gas molecules; those molecules also absorb the heat, and their temperature rises and the amount of heat they radiate increases. The atmosphere thins with altitude, and at roughly 5–6 kilometres, the concentration of greenhouse gases in the overlying atmosphere is so thin that heat can escape to space.


title: Earth's energy budget

text: Because greenhouse gas molecules radiate infrared energy in all directions, some of it spreads downward and ultimately returns to the Earth's surface, where it is absorbed. Earth's in-situ surface temperatures are thus higher than they would be if governed only by direct solar heating. This supplemental heating is the natural greenhouse effect. It is as if the Earth is covered by a blanket that allows high frequency radiation (sunlight) to enter, but slows the rate at which the longwave infrared radiation leaves.


title: Earth's energy budget

text: As viewed from Earth's surrounding space, greenhouse gases influence the planet's atmospheric emissivity (ε). Changes in atmospheric composition can thus shift the overall radiation balance. For example, an increase in heat trapping by a growing concentration of greenhouse gases (i.e. an "enhanced greenhouse effect") forces a decrease in OLR and a warming (restorative) energy imbalance. Ultimately when the amount of greenhouse gases increases or decreases, in-situ surface temperatures rise or fall until the ASR = OLR balance is again achieved.


title: Earth's energy budget

text: Land, ice, and oceans are active material constituents of Earth's climate system along with the atmosphere. They have far greater mass and heat capacity, and thus much more thermal inertia. When radiation is directly absorbed or the surface temperature changes, thermal energy will flow as sensible heat either into or out of the bulk mass of these components via conduction/convection heat transfer processes. The transformation of water between its solid/liquid/vapor states also acts as a source or sink of potential energy in the form of latent heat. These processes buffer the surface conditions against some of the rapid radiative changes in the atmosphere. As a result, the daytime versus nighttime difference in surface temperatures is relatively small. Likewise, Earth's climate system as a whole shows a delayed response to shifts in the atmospheric radiation balance.


title: Earth's energy budget

text: The top few meters of Earth's oceans harbor more thermal energy than its entire atmosphere. Like atmospheric gases, fluidic ocean waters transport vast amounts of such energy over the planet's surface. Sensible heat also moves into and out of great depths under conditions that favor downwelling or upwelling.


title: Earth's energy budget

text: Over 90 percent of the extra energy that has accumulated on Earth from ongoing global warming since 1970 has been stored in the ocean. About one-third has propagated to depths below 700 meters. The overall rate of growth has also risen during recent decades, reaching close to 500 TW (1 W/m) as of 2020. That led to about 14 zettajoules (ZJ) of heat gain for the year, exceeding the 570 exajoules (=160,000 TW-hr) of total primary energy consumed by humans by a factor of at least 20.


title: Earth's energy budget

text: Generally speaking, changes to Earth's energy flux balance can be thought of as being the result of external forcings (both natural and anthropogenic, radiative and non-radiative), system feedbacks, and internal system variability. Such changes are primarily expressed as observable shifts in temperature (T), clouds (C), water vapor (W), aerosols (A), trace greenhouse gases (G), land/ocean/ice surface reflectance (S), and as minor shifts in insolaton (I) among other possible factors. Earth's heating/cooling rate can then be analyzed over selected timeframes (Δt) as the net change in energy (ΔE) associated with these attributes:


title: Earth's energy budget

text: Here the term ΔE is negative-valued when temperature rises due to the strong direct influence on OLR.


title: Earth's energy budget

text: The recent increase in trace greenhouse gases produces an enhanced greenhouse effect, and thus a positive ΔE forcing term. By contrast, a large volcanic eruption (e.g. Mount Pinatubo 1991, El Chichón 1982) can inject sulfur-containing compounds into the upper atmosphere. High concentrations of stratospheric sulfur aerosols may persist for up to a few years, yielding a negative forcing contribution to ΔE. Various other types of anthropogenic aerosol emissions make both positive and negative contributions to ΔE. Solar cycles produce ΔE smaller in magnitude than those of recent ΔE trends from human activity.


title: Earth's energy budget

text: Climate forcings are complex since they can produce direct and indirect feedbacks that intensify (positive feedback) or weaken (negative feedback) the original forcing. These often follow the temperature response. Water vapor trends as a positive feedback with respect to temperature changes due to evaporation shifts and the Clausius-Clapeyron relation. An increase in water vapor results in positive ΔE due to further enhancement of the greenhouse effect. A slower positive feedback is the ice-albedo feedback. For example, the loss of Arctic ice due to rising temperatures makes the region less reflective, leading to greater absorption of energy and even faster ice melt rates, thus positive influence on ΔE. Collectively, feedbacks tend to amplify global warming or cooling.


title: Earth's energy budget

text: Clouds are responsible for about half of Earth's albedo and are powerful expressions of internal variability of the climate system. They may also act as feedbacks to forcings, and could be forcings themselves if for example a result of cloud seeding activity. Contributions to ΔE vary regionally and depending upon cloud type. Measurements from satellites are gathered in concert with simulations from models in the effort to improve understanding and reduce uncertainty.


title: Earth's energy budget

text: If Earth's incoming energy flux is larger or smaller than the outgoing energy flux, then the planet will gain (warm) or lose (cool) net heat energy in accordance with the law of energy conservation:


title: Earth's energy budget

text: When Earth's energy imbalance (EEI) shifts by a sufficiently large amount, it is directly measurable by orbiting satellite-based radiometric instruments. Imbalances which fail to reverse over time will also drive long-term temperature changes in the atmospheric, oceanic, land, and ice components of the climate system. In situ temperature changes and related effects thus provide indirect measures of EEI. From mid-2005 to mid-2019, satellite and ocean temperature observations have each independently shown an approximate doubling of the (global) warming imbalance in Earth's energy budget.


title: Earth's energy budget

text: Several satellites directly measure the energy absorbed and radiated by Earth, and thus by inference the energy imbalance. The NASA Earth Radiation Budget Experiment (ERBE) project involves three such satellites: the Earth Radiation Budget Satellite (ERBS), launched October 1984; NOAA-9, launched December 1984; and NOAA-10, launched September 1986.


title: Earth's energy budget

text: NASA's Clouds and the Earth's Radiant Energy System (CERES) instruments are part of its Earth Observing System (EOS) since 1998. CERES is designed to measure both solar-reflected (short wavelength) and Earth-emitted (long wavelength) radiation. Analysis of CERES data by its principal investigators showed an increasing trend in EEI from in 2005 to in 2019. Contributing factors included more water vapor, less clouds, increasing greenhouse gases, and declining ice that were partially offset by rising temperatures. Subsequent investigation of the behavior using the GFDL CM4/AM4 climate model concluded there was a less than 1% chance that internal climate variability alone caused the trend.


title: Earth's energy budget

text: Other researchers have used data from CERES, AIRS, CloudSat, and other EOS instruments to look for trends of radiative forcing embedded within the EEI data. Their analysis showed a forcing rise of from years 2003 to 2018. About 80% of the increase was associated with the rising concentration of greenhouse gases which reduced the outgoing longwave radiation.


title: Earth's energy budget

text: Further satellite measurements including TRMM and CALIPSO data have indicated additional precipitation, which is sustained by increased energy leaving the surface through evaporation (the latent heat flux), offsetting some of the increase in the longwave greenhouse flux to the surface.


title: Earth's energy budget

text: It is noteworthy that radiometric calibration uncertainties limit the capability of the current generation of satellite-based instruments, which are otherwise stable and precise. As a result, relative changes in EEI are quantifiable with an accuracy which is not also achievable for any single measurement of the absolute imbalance.


title: Earth's energy budget

text: Global surface temperature (GST) is calculated by averaging temperatures measured at the surface of the sea along with air temperatures measured over land. Reliable data extending to at least 1880 shows that GST has undergone a steady increase of about 0.18°C per decade since about year 1970.


title: Earth's energy budget

text: Ocean waters are especially effective absorbents of solar energy and have far greater total heat capacity than the atmosphere. Research vessels and stations have sampled sea temperatures at depth and around the globe since before 1960. Additionally after year 2000, an expanding network of over 3000 Argo robotic floats has measured the temperature anomaly, or equivalently the change in ocean heat content (OHC). Since at least 1990, OHC has increased at a steady or accelerating rate. Changes in OHC provide the most robust indirect measure of EEI since the oceans take up 90% of the excess heat.


title: Earth's energy budget

text: The extent of floating and grounded ice is measured by satellites, while the change in mass is then inferred from measured changes in sea level in concert with computational models that account for thermal expansion and other factors. Observations since 1994 show that ice has retreated from every part of Earth at an accelerating rate.


title: Earth's energy budget

text: Climate researchers Kevin Trenberth, James Hansen, and colleagues have identified the monitoring of Earth's energy imbalance as an imperative to help policymakers guide the pace of planning for climate change adaptation. Because of climate system inertia, longer-term EEI trends can forecast further changes that are "in the pipeline".


title: Earth's energy budget

text: In 2012, NASA scientists reported that to stop global warming atmospheric CO concentration would have to be reduced to 350 ppm or less, assuming all other climate forcings were fixed. As of 2020, atmospheric CO reached 415 ppm and all long-lived greenhouse gases exceeded a 500 ppm -equivalent concentration due to continued growth in human emissions.


title: Sotol

text: Sotol is a distilled spirit from the Chihuahuan desert northern Mexico, western Texas sourced from the family of Asparagaceae; the genus Dasylirion and several species, most commonly: "Dasylirion wheeleri", Dasylirion durangense, "Dasylirion cedrosanum", and "Dasylirion leiophyllum", less commonly with Dasylirion texanum and Dasylirion lucidum (commonly known as Desert Spoon or, in Spanish, "sotol, sereque, cucharilla, or palmilla"), a plant that grows in the Chihuahua desert of northern Mexico, New Mexico, Arizona, and west and central Texas. Sotol liquor is a Mexican drink that is known as the state spirit of Chihuahua, Durango and Coahuila. Sotol has its own appellation of origin since 2002, and may be produced only in Chihuahua, Coahuila and Durango. There are dozens of commercial examples available.


title: Sotol

text: Production of sotol spirits exists outside the Sotol Denomination of Origin in several regions such as Sonora where it is known as Palmilla, Oaxaca (Cucharillo), and the Texas Hill Country (Texas Sotol).


title: Sotol

text: At the Fate Bell Shelter, a 150-yard-long opening in a large rock face on the U.S. side of the Rio Grande, sotol is depicted in paintings on the rock walls. Sandals, baskets, ropes, mats and many other items of sotol fiber show that the resource was highly important to Ancestral Puebloans of the Basketmaker culture. These artifacts date to around 7000 BCE.


title: Sotol

text: The base of a cooked sotol stem may be eaten much like an artichoke leaf (by scraping across the front teeth). The remnant, called a "quid", resembles a spoon and can be used as one. Archaeological sites where "Desert Spoon" was eaten in this way are full of discarded quids thousands of years old.


title: Sotol

text: Sotol and lechuguilla flower-stalks used as atlatl dart hind-shafts were found in a Ceremonial Cave (Hueco Mountains, near El Paso, Texas). Sotol may also have been affiliated with fire; the sotol stem was used as a fireplow.


title: Sotol

text: A humanoid figure with a spray of spiky leaves for a head and a black stripe down the middle of its body may represent the magical spirit of sotol. Sometimes it appears in connection with hunting scenes, at others it appears surrounded by orange ochre flames and black smoke.


title: Sotol

text: The presence in these rock shelters of troughs a half-meter long and four centimeters deep, along with mounds of quids, suggests the production of beverages with sotol as far back as 9000 years ago. The murals depicting sotol-related images may, in part, be a tribute to the remarkable usefulness of the plant, especially at sites like the Fate Bell Shelter.


title: Sotol

text: The Indigenous People of the Chihuahuan Desert, such as the Jumano Pueblos and the Lipan Apache have made this traditional drink for centuries. Other Natives of Chihuahua, such as the Rarámuri, fermented sotol juice into a beer-like alcoholic beverage as early as 800 years ago. In the 16th century, Spanish colonists introduced European distillation techniques to produce a spirit. Sotol is now beginning to achieve international recognition like its cousins, mezcal and tequila.


title: Sotol

text: The Desert Spoon takes approximately 15 years to mature and yields only one bottle of sotol per plant. It typically grows on rocky slopes in the Chihuahuan desert grassland between 3,000 and 6,500 feet above sea level. Unlike agave, which flowers only once in its lifetime, sotols produce a flower stalk every few years. Once the plant matures, it is harvested like agave plants when mezcal or tequila are to be made. The outer leaves are removed to reveal the center core, which is taken back to the distillery. The core can then be cooked and/or steamed, shredded, fermented, and distilled.


title: Margaret Chase Smith

text: Margaret Madeline Smith (née Chase; December 14, 1897 – May 29, 1995) was an American politician. A member of the Republican Party, she served as a U.S. representative (1940–1949) and a U.S. senator (1949–1973) from Maine. She was the first woman to serve in both houses of the United States Congress, and the first woman to represent Maine in either. A moderate Republican, she was among the first to criticize the tactics of Joseph McCarthy in her 1950 speech, "Declaration of Conscience".


title: Margaret Chase Smith

text: Smith was a candidate for the Republican presidential nomination in the 1964 election; she was the first woman to be placed in nomination for the presidency at a major party's convention. Upon leaving office, she was the longest-serving female senator in history, a distinction that was not surpassed until January 5, 2011, when Senator Barbara Mikulski from Maryland was sworn in for a fifth term. Smith was ranked as the longest-serving Republican woman in the Senate, a distinction that was not surpassed until January 3, 2021, when Susan Collins, who holds the same Senate seat she previously held, was sworn in for a fifth term.


title: Margaret Chase Smith

text: Margaret Chase was born in Skowhegan in central Maine, to George Emery and Carrie Matilda (née Murray) Chase. She was the oldest of six children, two of whom did not survive to adulthood. Her father was of English ancestry, a descendant of immigrants to the original Thirteen Colonies in the 17th century; her great-great grandfather commanded an artillery company during the War of 1812, and her grandfather served in the Union Army during the Civil War. Her mother's family was French Canadian, having immigrated from Quebec in the middle of the 19th century; her grandfather Lambert Morin changed his name to John Murray to avoid anti-French Canadian and anti-Catholic prejudice. Her father was the town barber, and her mother worked as a waitress, store clerk, and shoe factory worker.


title: Margaret Chase Smith

text: She received her early education at Lincoln and Garfield Elementary Schools. At age 12, she went to work at a local five-and-dime store and even bought herself a life insurance policy. She also shaved her father's customers when he was busy or away from the shop. She attended Skowhegan High School, graduating in 1916. During high school, she played on the girls' basketball team, of which she was captain in her senior year. She also worked as a substitute operator with a telephone company during this time. In that position she met Clyde Smith, a prominent local politician, who arranged a job for her as a part-time assistant to the tax assessor.


title: Margaret Chase Smith

text: Following her high school graduation, Chase briefly taught at the Pitts School, a one-room school near Skowhegan. She also coached the girls' basketball team at Skowhegan High (1917–18). She was a business executive for the Maine Telephone and Telegraph Company (1918–1919) before joining the staff of the "Independent Reporter", a Skowhegan weekly newspaper (owned by Clyde Smith) for whom she was circulation manager from 1919 to 1928. She became involved with local women's organizations. She co-founded the Skowhegan chapter of the Business and Professional Women's Club in 1922, and served as editor of the club's magazine, "The Pine Cone". From 1926 to 1928, she was president of the statewide organization, the Maine Federation of Business and Professional Women's Clubs. She became treasurer of the New England Waste Process Company in 1928 and was also employed as an office worker with the Daniel E. Cummings Woolen Company, a local textile mill.


title: Margaret Chase Smith

text: On May 14, 1930, Chase married Clyde Smith, who was 21 years her senior. She soon became active in politics and was elected to the Maine Republican State Committee, on which she served from 1930 to 1936. After Clyde was elected to the U.S. House of Representatives from Maine's 2nd congressional district in 1936, Smith accompanied her husband to Washington, D.C., to serve as his secretary. In this position, she managed his office, handled his correspondence, conducted research, and helped write his speeches. She also served as treasurer of the Congressional Club, a group composed of the wives of congressmen and Cabinet members.


title: Margaret Chase Smith

text: In the spring of 1940, Clyde Smith fell seriously ill after suffering a heart attack, and asked his wife to run for his House seat in the general election the following September. He prepared a press release in which he stated, "I know of no one else who has the full knowledge of my ideas and plans or is as well qualified as she is, to carry on these ideas and my unfinished work for my district." He died on April 8 of that year, and a special election was scheduled on the following June 3 to complete his unexpired term. Facing no Democratic challenger, Smith won the special election and became the first woman elected to Congress from Maine. Three months after the special election, she was elected to a full two-year term in the House in her own right. Smith defeated Edward J. Beauchamp, the Democratic mayor of Lewiston, by a margin of 65%–35%. She was re-elected to three more terms over the course of the next eight years, never receiving less than 60% of the vote.


title: Margaret Chase Smith

text: During her tenure in the House, Smith developed a strong interest in issues concerning the military and national security. After being appointed to the House Naval Affairs Committee in 1943, she was assigned to the investigation of destroyer production, and made a 25,000-mile (40,234-km) tour of bases in the South Pacific during the winter of 1944. She also became the first and only civilian woman to sail on a U.S. Navy ship during World War II. She became known as "Mother of the WAVES" after introducing legislation to create that organization. Although Congresswoman Smith was a strong supporter of women in the armed services, she did not write the legislation that created the special female military units during World War II. She did, however, champion the legislation that gave women permanent status in the military following the war.


title: Margaret Chase Smith

text: A supporter of President Harry S. Truman's foreign policies, she was mentioned as a possible candidate for Under Secretary of the Navy in 1945 and for Assistant Secretary of State in 1947. Smith became a member of the House Armed Services Committee in 1946, also serving as chair of its Subcommittee on Hospitalization and Medicine. In this position, she sponsored and ensured the passage of the Women's Armed Services Integration Act, a bill to regularize the status of women in the armed forces that was signed into law by President Truman in June 1948.


title: Margaret Chase Smith

text: Smith also earned a reputation as a moderate Republican who often broke ranks with her party. She supported much of President Franklin D. Roosevelt's New Deal legislation, as had her husband while he was in office. She voted in favor of the Selective Service Act in 1940 and voted against the Smith–Connally Act in 1943. In 1945, she voted against making the House Un-American Activities Committee a permanent body.


title: Margaret Chase Smith

text: As a member of the House, Smith began wearing a single red rose that became a daily fixture of her attire throughout her career in public office. She waged a long campaign to have the rose declared the official flower of the United States, which Congress eventually approved in 1987.


title: Margaret Chase Smith

text: In August 1947, after three-term incumbent Wallace H. White Jr. decided to retire, Smith announced her candidacy for his seat in the U.S. Senate. In the Republican primary, she faced incumbent Governor Horace A. Hildreth, former Governor Sumner Sewall, and Reverend Albion Beverage. She ran a grassroots campaign with little money, using the slogan, "Don't change a record for a promise." When the wife of one of her opponents questioned whether a woman would be a good Senator, Smith replied, "Women administer the home. They set the rules, enforce them, mete out justice for violations. Thus, like Congress, they legislate; like the Executive, they administer; like the courts, they interpret the rules. It is an ideal experience for politics." On June 21, 1948, she won the primary election and received more votes than her three opponents combined. In the general election on September 13, she defeated Democrat Adrian H. Scolten by a margin of 71%–29%. She became the first woman to represent Maine in the Senate, and the first woman to serve in both houses of Congress.


title: Margaret Chase Smith

text: Smith was sworn into the Senate on January 3, 1949. After a year in office, she gained national attention when she became the first member of Congress to condemn the anti-Communist witch hunt led by her fellow Republican Senator, Joseph McCarthy from Wisconsin. Smith was initially impressed by McCarthy's accusations of Communists working in the State Department, but became disillusioned after McCarthy failed to provide any evidence to validate his charges.


title: Margaret Chase Smith

text: Smith voted in favor of Harry Truman's Supreme Court nomination of Tom C. Clark on August 18, 1949, but was absent during the nomination of Sherman Minton while Senate Minority Whip Leverett Saltonstall announced that Smith would have voted in favor if present. Smith was present in the United States Senate on March 1, 1954, when Dwight Eisenhower's nomination of Earl Warren as Chief Justice of the United States was unanimously confirmed, voted in favor of the nomination of John Marshall Harlan II on March 16, 1955, was present for the unanimous nominations of William J. Brennan Jr. and Charles Evans Whittaker on March 19, 1957, and voted in favor of the nomination of Potter Stewart on May 5, 1959. She opposed the tactics being used by members of her party, such as Joseph McCarthy, and spoke out saying, "As an American, I condemn a Republican Fascist just as much as I condemn a Democrat Communist. They are equally dangerous to you and me and to our country. As an American, I want to see our nation recapture the strength and unity it once had when we fought the enemy instead of ourselves."


title: Margaret Chase Smith

text: On June 1, 1950, Smith delivered a fifteen-minute speech on the Senate floor, known as the "Declaration of Conscience," in which she refused to name McCarthy directly but denounced "the reckless abandon in which unproved charges have been hurled from this side of the aisle." She said McCarthyism had "debased" the Senate to "the level of a forum of hate and character assassination." She defended every American's "right to criticize... right to hold unpopular beliefs... right to protest; the right of independent thought." While acknowledging her desire for Republicans' political success, she said, "I don't want to see the Republican Party ride to political victory on the four horsemen of calumny—fear, ignorance, bigotry, and smear." Six other moderate Republican Senators signed on to her Declaration: Wayne Morse from Oregon, George Aiken from Vermont, Edward Thye from Minnesota, Irving Ives from New York, Charles Tobey from New Hampshire, and Robert C. Hendrickson from New Jersey. Her speech ended with a warning: "It is high time that we all stopped being tools and victims of totalitarian techniques—techniques that, if continued here unchecked, will surely end what we have come to cherish as the American way of life."


title: Margaret Chase Smith

text: In response to her speech, McCarthy referred to Smith and the six other Senators as "Snow White and the Six Dwarfs." He removed her as a member of the Permanent Subcommittee on Investigations, giving her seat to Senator Richard Nixon from California. He also helped finance an unsuccessful primary challenger during Smith's re-election campaign in 1954. Smith later observed, "If I am to be remembered in history, it will not be because of legislative accomplishments, but for an act I took as a legislator in the U.S. Senate when on June 1, 1950, I spoke ... in condemnation of McCarthyism, when the junior Senator from Wisconsin had the Senate paralyzed with fear that he would purge any Senator who disagreed with him." She voted for McCarthy's censure in 1954.


title: Margaret Chase Smith

text: On July 17, 1950, Smith was commissioned as a lieutenant colonel in the Air Force Reserve, and she served until 1958.


title: Margaret Chase Smith

text: In the 1952 election, Smith was widely mentioned as a vice-presidential candidate under General Dwight D. Eisenhower. When asked by a reporter what she would do if she woke up one morning and found herself in the White House, she replied: "I'd go straight to Mrs. Truman and apologize. Then I'd go home."


title: Margaret Chase Smith

text: On December 3, 1957, Smith became the first woman in Congress to break the sound barrier, which she did as a passenger in an F-100 Super Sabre piloted by Air Force Major Clyde Good.


title: Margaret Chase Smith

text: Exhibiting the same independent nature in the Senate as she had in the House, Smith opposed President Eisenhower's nomination of Lewis Strauss as Secretary of Commerce in 1959.


title: Margaret Chase Smith

text: In her successful re-election campaign in 1960, she ran against Democrat Lucia Cormier, the minority leader of the Maine House of Representatives; it was the first time in American history that two women ran against each other for a Senate seat.


title: Margaret Chase Smith

text: On January 27, 1964, Smith announced her candidacy for President of the United States. She declared, "I have few illusions and no money, but I'm staying for the finish. When people keep telling you you can't do a thing, you kind of like to try." Gladys Shelley wrote her a presidential nomination campaign song, "Leave It to the Girls", which was sung by Hildegarde. Smith lost every single primary election, but did manage to win 25% of the vote in Illinois. At the 1964 Republican National Convention in San Francisco, she became the first woman to have her name be placed in nomination for the presidency at a major political party's convention. She placed fifth in the initial balloting, and denied unanimous consent for Senator Barry Goldwater from Arizona after refusing to withdraw her name from the final ballot. She nevertheless campaigned for Goldwater in the general election, appearing in a television ad in which she defended his position on Social Security.


title: Margaret Chase Smith

text: During the administration of President John F. Kennedy, Smith argued that the United States should use nuclear weapons against the Soviet Union. This led Soviet leader Nikita Khrushchev to call Smith "the devil in disguise of a woman" whose position exceeded "all records of savagery." Smith later replied, "Mr. Khrushchev isn't really mad at me. I am not that important. He is angry because American officials have grown more firm since my speech." The morning after Kennedy's assassination in November 1963, she went into the Senate chamber before it convened and laid a rose on the desk Kennedy had occupied as a Senator. A member of the Senate Armed Services Committee, she supported the Vietnam War but opposed the deployment of the Sentinel anti-ballistic missile.