title: Key (company)

text: Key announced the development of three kinetic novels in October 2020: "Loopers", "", and "Stella of The End". "Loopers" was released on May 28, 2021. "Lunaria: Virtualized Moonchild" was released on December 24, 2021. "Stella of The End" was released on September 30, 2022. Key also revealed in October 2020 the multimedia project "Prima Doll" in collaboration with plastic model and figurine manufacturer Kotobukiya. A 12-episode anime television series for "Prima Doll" aired between July and September 2022. Key released the "Planterian Ultimate Edition" on September 3, 2021, which also included "Planetarian: Snow Globe", a kinetic novel version of the previously released prequel short story of the same name. Key collaborated with video game developer Wright Flyer Studios to produce the mobile role-playing game "Heaven Burns Red" released on February 10, 2022 for iOS and Android devices. A four-volume kinetic novel series for "Prima Doll" will be released between 2023 and 2024.


title: Key (company)

text: In 2001, Visual Arts created the record label Key Sounds Label (KSL). The music albums and singles released by Key after this were put under this label, meaning that this does not include the first two albums and one single which were released before it was officially formed. The first album on this label was "Humanity...", though the only direct connection to Key's works is that it contains a remixed version of the opening theme to "Air". The albums under the label are mainly composed by Key's signature composers: Jun Maeda, Shinji Orito and Magome Togoshi. Three of the singles feature songs sung by Lia and one album, "Love Song", features the singer Riya from Eufonius. Three drama CDs have been released as well.


title: Key (company)

text: To celebrate Key's ten-year anniversary, Key hosted a concert called KSL Live World 2008: Way to the Little Busters! EX on May 10, 2008, in Tokyo, Japan, and again on May 17, 2008, in Osaka, Japan. Each time, the concert lasted for two and a half hours and featured songs sung by Lia, Rita, Chata, and Tomoe Tamiyasu who have previously sung songs for singles and albums released under Key Sounds Label. Another concert called KSL Live World 2010: Way to the Kud-Wafter was held in Tokyo between May 21–22, 2010. A third content called KSL Live World 2013: Way to the Little Busters! Refrain was held in Koto, Tokyo on September 16, 2013. A fourth concert called KSL Live World: Way to the Angel Beats! -1st- was held in Akihabara, Tokyo on April 11 and April 12, 2015. A fifth concert called KSL Live World 2016: The Animation Charlotte & Rewrite was held in Toyosu, Tokyo on April 30, 2016.


title: Key (company)

text: Key produced 30 episodes of an Internet radio show called in regard to the brand between December 13, 2007 and August 30, 2010. It was hosted by Shinji Orito and Itaru Hinoue of Key, and another woman named Chiro who works for Pekoe, another visual novel studio under Visual Arts. Listeners could submit thoughts about the show and any requests they may have for the show, along with submitting questions to the host trio. The broadcasts were available via download on Key's official website and were available for download on the radio show's official blog for the first nine broadcasts. The broadcasts could also be listened to on Visual Arts' YouTube channel named Visual Channel.


title: Key (company)

text: For the first six episodes, the show had five corners, or parts, which started with opening greetings from the hosts and went on to thoughts and impressions that listeners had about the show. This moved on to an informal talk between the hosts, followed by a section where entries previously submitted by listeners concerning their enthusiasm for Key were read by the hosts. The fourth corner concerned answering questions that had been submitted by listeners, and the final corner had Orito playing the flute; listeners could submit suggestions for songs he was to play. Two more corners were added starting with the seventh broadcast. The first corner added concerns scary stories that the hosts can tell themselves, or read from submissions by listeners, and was added partly because Hinoue enjoys such stories. The second corner added deals with submissions by listeners describing a new fictional character, and Hinoue takes these submissions and forms a new fictional character out of combining elements from multiple submissions together. During the broadcasts, tracks from the soundtracks released under Key Sounds Label play in the background.


title: Key (company)

text: Comiket, short for Comic Market, is a large comic convention held twice a year in Tokyo, Japan during August and December, which are referred to as the summer and winter Comic Markets, respectively. Key has been an active participant in the convention since Comiket 57 in December 1999, where they sold "Kanon"-related products (as "Kanon" was their only release at the time); one such product was a Zippo lighter. The first "Air"-related products Key sold at the convention were at Comiket 59 in December 2000. Typical products include: postcards, telephone cards, calendars, posters, and albums. The products Key sells at Comiket are all related to the visual novels the brand produces.


title: Key (company)

text: Key, through Visual Arts, generally participates at the winter Comiket in conjunction with other brands under Visual Arts, but has been known to appear at the summer Comiket too, such as with Comiket 70 in August 2006 where they sold "" related products. The combined total of the products Key sells at a given Comiket range in price between 3,000 and 5,000 yen. This includes the selling of music albums released under Key's record label Key Sounds Label which has been releasing albums since Comiket 60 in August 2001 with the release of the label's first two albums, "Humanity..." and "Natsukage / Nostalgia". If there are any unsold products by the end of a given Comiket, Visual Arts has been known to set up an online mail order to sell the remaining goods from all the brands under Visual Arts that participated at Comiket. After Comiket 73 in December 2007, Visual Arts started taking mail orders on March 4, 2008, and only six days later on March 10, 2008, Key reported that all of Key's goods sold at Comiket 73 were now sold out. At the end of the second day of Comiket 75 in December 2008, all of Key's goods at the convention were sold out.


title: Key (company)

text: Key's main staff members are attached to the visual novel studio, and therefore Visual Arts. One of the founding members of Key, Jun Maeda, has worked on the planning for the individual projects and was one of the main scenario writers; he has also composed music for the majority of Key's games. Maeda stepped down as the main scenario writer after "Little Busters! Ecstasy", but continues to work on the music for Key's games. However, Maeda designed the "Angel Beats! 1st Beat" visual novel and partially wrote its scenario, in addition to providing the original concept for "Summer Pockets". Na-Ga, Key's main artist, mainly worked with background art in earlier games, but was first given the position of co-art director with former Key artist Itaru Hinoue with "Little Busters!". Further computer graphics have been provided in the past by Shinory and Mochisuke, two graphic artists in Key. Shinji Orito, another founding member and Key's main composer, has composed music for the majority of Key's games.


title: Key (company)

text: Many of Key's staff have left the brand over time, or have been employed as outsourced contributors. Naoki Hisaya had worked as one of the main scenario writers for "Kanon", but once the project was complete, he left the brand. Another member of the staff that made "Kanon" was OdiakeS, an outsourced composer who has since helped Key with two music albums, one each released for "Air" and "Clannad", but has done nothing with Key since 2004. Three staff members only worked with Key on "Air": Takashi Ishikawa as one of the scenario writers, Tomotaka Fujii as a scenario assistant, and Din as a background artist. "Air" and "Clannad" had Tōya Okano and Kai who contributed as scenario writers. Kai later headed the planning of "Kud Wafter", as well as contributing on the scenario of "Angel Beats", "Harmonia" and "Summer Pockets". One of the original computer graphics artists, Miracle Mikipon, left after "Clannad". Two other outsourced graphic artists, Minimo Tayama and Torino, have often contributed on Key's games. Scenario writer Yūichi Suzumoto worked with Key between "Air" and "Planetarian". Eeji Komatsu worked as the art director for "Planetarian", and another artist, Fumio, worked as the art director for "Tomoyo After".


title: Key (company)

text: Leo Kashida worked as an outsourced writer with Key on "Tomoyo After", "Little Busters!" and "Angel Beats". Chika Shirokiri, another outsourced writer who worked with Key on "Little Busters!", also wrote the scenario for "Kud Wafter". Manack and members of PMMK composed music in "Little Busters!", and members of MintJam helped with arrangement. Magome Togoshi had been with Key since before "Kanon"s release, working as one of the signature composers, but left the brand in October 2006 after contributing to the soundtrack of "Little Busters!". Jun'ichi Shimizu composed all the music in "Kud Wafter". Two outsourced writers worked on the scenario for "Rewrite" and its fan disc "Rewrite Harvest festa!": Ryukishi07 of 07th Expansion, and Romeo Tanaka. "Rewrite" and "Harvest festa!" also featured three outsourced musical composers: Maiko Iuchi of I've Sound, Sōshi Hosoi, and Ryō Mizutsuki. Mizutsuki later returned to compose music for "Harmonia" and "Summer Pockets". At the time Maeda stepped down as the main scenario writer, Yūto Tonokawa joined Key and first worked on the scenario in "Little Busters!". Tonokawa later contributed to the scenario in "Rewrite" and "Harvest festa!", but resigned from Key in 2015. Itaru Hinoue, one of Key's founding members, was Key's main artist and was the sole art director and character designer for six of Key's games. Hinoue resigned from Key in September 2016 after working on "Harmonia".


title: Key (company)

text: According to Satoshi Todome's work, "A History of Adult Games", Key's impact on the visual novel (primarily the adult game variant) world stems from before Key was formed and most of the founding members of Key worked for Tactics under Nexton. Due to an influence by Leaf's visual novel "To Heart" released in 1997, the developers at Tactics created a simple formula for a game: a comedic first half with a heart-warming romantic middle followed by a tragic separation and finally an emotional reunion formed what is known as a "crying game" or "nakige". The main purpose of such a game is to make the player feel for the characters and make them cry due to emotional scenarios which serves to leave a bigger impact on the player after the game is over. Tactics' second title "" was created based on this formula.


title: Key (company)

text: After "One" was complete, the development team quit Tactics to form Key where they developed their first title "Kanon" also based upon this formula. "Kanon" was "heavily hyped [and] had gamers impatient until its release. It was only one game released by Key so far, and yet [it] had already sent major shockwaves around the industry. And yet another game ["Air"], two years later, sent even more shockwaves. "Air" was equally hyped and well received." The success of "One" and "Kanon" on Key's formula to create a "crying game" was later adopted by other visual novel developing companies which were influenced by this formula. Examples of this include: "" by Digital Object, the "Memories Off" series by KID, "" by Circus, "Snow" by Studio Mebius (also under Visual Arts), and "" by Minori.


title: Key (company)

text: Ryukishi07 of 07th Expansion wrote in 2004 how he was influenced by Key's works during the planning of "Higurashi no Naku Koro ni". Ryukishi07 played Key's games as a reference, among other visual novels, and analyzed them to figure out the reason why they were found to be so popular. He figured that the secret was due to how the stories would start with ordinary, enjoyable days, but then a sudden occurrence would happen leading the player to cry due to the shock value. He used a similar model for the basis of "Higurashi" but instead of leading the player to cry, Ryukishi07 wanted to scare the player with the addition of horror elements. In this way, Ryukishi07 wished to be in some way associated with Key who he described as a "masterpiece maker".


title: Key (company)

text: Key is one of 17 brands under Visual Arts with games included in the "Lycèe Trading Card Game" published by Broccoli. Characters from Key's first five games through "Tomoyo After" were included in the first three out of four Visual Arts card sets, and characters from "Little Busters!" through "Rewrite" were featured in the fifth through seventh Visual Arts card sets. There are also numerous rare promotional cards with characters from Key titles. Other big-name visual novel companies included in the card game include: AliceSoft, August, Leaf, Navel, and Type-Moon.


title: Key (company)

text: A bulletin board system (BBS) based on the interface of the large Japanese Internet forum 2channel (2ch) was formed on January 26, 2000, named , otherwise nicknamed as . The board originated from 2ch's video game discussion board due to a dispute involving the game "Kizuato" in December 1999; "Kizuato" was an early game of another visual novel producing brand named Leaf. Ultimately, fans of the game moved to 2ch's adult game board, but there was not much resolution, and at the time Key fans on the board were being shunned for discussions on "Kanon" and, at the time, Key's upcoming game "Air". This resulted finally with the Leaf and Key fans moving away from 2ch and forming again on the PINKchannel Internet forum. The board serves as a discussion board for anything related to Leaf and Key. This includes the games the companies produce, but also the companies themselves and the staff that make up those companies. The BBS gets approximately 900 posts per day as of March 2010. Like 2ch, the board has a default anonymous posting setting, and the default name is , a reference to the heroine from "" who frequently ends her sentences with "dayo" and "mon".


title: Timothy Granaderos

text: Timothy Granaderos Jr. (born September 9, 1986) is an American actor and model. He is known for his role as Montgomery De La Cruz in the Netflix teen drama series "13 Reasons Why". He has also appeared in the psychological thriller web series "Tagged" as Ash Franklin and "In the Vault" as Taylor Price in 2017, in addition to several music videos.


title: Timothy Granaderos

text: Granaderos was born in Ypsilanti, Michigan, and raised in Portage, Michigan. He later moved to Los Angeles to pursue modeling and acting. Granaderos is half-Filipino. His father is a Filipino of the Chavacano ethnic group from Zamboanga admixture. Granaderos graduated from Portage Northern High School and later attended Michigan State University, where he majored in advertising and played on the Michigan State Spartans men's soccer team.


title: Timothy Granaderos

text: Before beginning his acting career, he worked as a production assistant on the short film "Committed". In 2016, he played Ash Franklin in the web series "Tagged". He also appeared in the TV show "In the Vault" as Taylor Price.


title: Timothy Granaderos

text: Granaderos made recurring appearances in the first two seasons of "13 Reasons Why". He was promoted to series regular for season 3. Granaderos had originally auditioned for the roles of Justin Foley, Tony Padilla and Jeff Atkins, before being cast as Montgomery De La Cruz.


title: Timothy Granaderos

text: Granaderos is represented by One Management, and appeared in various commercials and print ads. He also supported and modeled for a clothing company called "hnly".


title: Duchy of Lorraine

text: The Duchy of Lorraine ( ; ), originally Upper Lorraine, was a duchy now included in the larger present-day region of Lorraine in northeastern France. Its capital was Nancy.


title: Duchy of Lorraine

text: It was founded in 959 following the division of Lotharingia into two separate duchies: Upper and Lower Lorraine, the westernmost parts of the Holy Roman Empire. The Lower duchy was quickly dismantled, while Upper Lorraine came to be known as simply the Duchy of Lorraine. The Duchy of Lorraine was coveted and briefly occupied by the dukes of Burgundy and the kings of France.


title: Duchy of Lorraine

text: In 1737, the duchy was given to Stanisław Leszczyński, the former king of Poland, who had lost his throne as a result of the War of the Polish Succession, with the understanding that it would fall to the French crown on his death. When Stanisław died on 23 February 1766, Lorraine was annexed by France and reorganized as a province.


title: Duchy of Lorraine

text: Lorraine's predecessor, Lotharingia, was an independent Carolingian kingdom under the rule of King Lothair II (855–869). Its territory had originally been a part of Middle Francia, created in 843 by the Treaty of Verdun, when the Carolingian empire was divided between the three sons of Louis the Pious. Middle Francia was allotted to Emperor Lothair I, therefore called "Lotharii Regnum". On his death in 855, it was further divided into three parts, of which his son Lothair II took the northern one. His realm then comprised a larger territory stretching from the County of Burgundy in the south to the North Sea. In French, this area became known as "Lorraine", while in German, it was eventually known as "Lothringen". In the Alemannic language once spoken in Lorraine, the -ingen suffix signified a property; thus, in a figurative sense, "Lotharingen" can be translated as "Land belonging to Lothair", or more simplified *Lothair's realm*.


title: Duchy of Lorraine

text: As Lothair II had died without heirs, his territory was divided by the 870 Treaty of Meerssen between East and West Francia and finally came under East Frankish rule as a whole by the 880 Treaty of Ribemont. After the East Frankish Carolingians became extinct with the death of Louis the Child in 911, Lotharingia once again attached itself to West Francia, but was conquered by the German king Henry the Fowler in 925. Stuck in the conflict with his rival Hugh the Great, in 942 King Louis IV of France renounced all claims to Lotharingia.


title: Duchy of Lorraine

text: In 953, the German king Otto I had appointed his brother Bruno the Great Duke of Lotharingia. In 959, Bruno divided the duchy into Upper and Lower Lorraine; this division became permanent following his death in 965. The Upper Duchy was further "up" the river system, that is, it was inland and to the south. Upper Lorraine was first denominated as the Duchy of the Moselle, both in charters and narrative sources, and its duke was the "dux Mosellanorum". The usage of "Lotharingia Superioris" and "Lorraine" in official documents begins later, around the fifteenth century. The first duke and deputy of Bruno was Frederick I of Bar, son-in-law of Bruno's sister Hedwig of Saxony.


title: Duchy of Lorraine

text: Lower Lorraine disintegrated into several smaller territories and only the title of a "Duke of Lothier" remained, held by Brabant. After the duchy of the Moselle came into the possession of René of Anjou, the name "Duchy of Lorraine" was adopted again, only retrospectively called "Upper Lorraine". At that time, several territories had already split off, such as the County of Luxembourg, the Electorate of Trier, the County of Bar and the "Three Bishoprics" of Verdun, Metz and Toul.


title: Duchy of Lorraine

text: The border between the Empire and the Kingdom of France remained relatively stable throughout the Middle Ages. In 1301, Count Henry III of Bar had to receive the western part of his lands ("Barrois mouvant") as a fief by King Philip IV of France. In 1475, the Burgundian duke Charles the Bold campaigned for the Duchy of Lorraine, but was finally defeated and killed at the 1477 Battle of Nancy. In the 1552 Treaty of Chambord, a number of insurgent Protestant Imperial princes around Elector Maurice of Saxony ceded the Three Bishoprics to King Henry II of France in turn for his support.


title: Duchy of Lorraine

text: Due to the weakening of Imperial authority during the 1618–1648 Thirty Years' War, France was able to occupy the duchy in 1634 and retained it until 1661 when Charles IV was restored. In 1670, the French invaded again, forcing Charles into exile; his nephew and heir Charles V (1643–1690) spent his life in the service of the Imperial House of Habsburg. France returned the Duchy in the 1697 Treaty of Ryswick ending the Nine Years' War and Charles' son Leopold (1679–1729), became duke and was known as 'Leopold the Good;' in the 1701–1714 War of the Spanish Succession, parts of Lorraine, including the capital Nancy, were again occupied by France, but Leopold continued to reign at the Château de Lunéville.


title: Duchy of Lorraine

text: In 1737, after the War of the Polish Succession, an agreement between France, the Habsburgs and the Lorraine House of Vaudémont assigned the Duchy to Stanisław Leszczyński, former king of Poland. He was also father-in-law to King Louis XV of France, who lost out to a candidate backed by Russia and Austria in the War of the Polish Succession. The Lorraine duke Francis Stephen, betrothed to the Emperor's daughter Archduchess Maria Theresa, was compensated with the Grand Duchy of Tuscany, where the last Medici ruler had recently died without issue. France also promised to support Maria Theresa as heir to the Habsburg possessions under the Pragmatic Sanction of 1713. Leszczyński received Lorraine with the understanding that it would fall to the French crown on his death. The "title" of Duke of Lorraine was of course given to Stanisław, but also retained by Francis Stephen, and it figures prominently in the titles of his successors (as a non-claimant family name), the House of Habsburg-Lorraine. When Stanisław died on 23 February 1766, Lorraine was annexed by France and reorganized as a province by the French government.


title: Duchy of Lorraine

text: Lorraine Franconian, known as ' or ' in French, is a West Central German dialect spoken by a minority in the northern part of the region. This is distinct from the neighbouring Alsatian language, although the two are often confused. Neither has any form of official recognition.


title: Duchy of Lorraine

text: The duchy produced a number of important painters, including Claude Lorrain, Georges de La Tour and Jean LeClerc.


title: Duchy of Lorraine

text: Like most of France's regional languages (such as Breton, Franco-Provençal, Occitan, Alsatian, Catalan, Basque and Flemish), Lorrain and Lorraine Franconian were largely replaced by French with the advent of mandatory public schooling in the 19th and 20th centuries.


title: Intel 8088

text: The Intel 8088 (""eighty-eighty-eight"", also called iAPX 88) microprocessor is a variant of the Intel 8086. Introduced on June 1, 1979, the 8088 has an eight-bit external data bus instead of the 16-bit bus of the 8086. The 16-bit registers and the one megabyte address range are unchanged, however. In fact, according to the Intel documentation, the 8086 and 8088 have the same execution unit (EU)—only the bus interface unit (BIU) is different. The original IBM PC is based on the 8088, as are its clones.


title: Intel 8088

text: The 8088 was designed at Intel's laboratory in Haifa, Israel, as were a large number of Intel's processors. The 8088 was targeted at economical systems by allowing the use of an eight-bit data path and eight-bit support and peripheral chips; complex circuit boards were still fairly cumbersome and expensive when it was released. The prefetch queue of the 8088 was shortened to four bytes, from the 8086's six bytes, and the prefetch algorithm was slightly modified to adapt to the narrower bus. These modifications of the basic 8086 design were one of the first jobs assigned to Intel's new design office and laboratory in Haifa.


title: Intel 8088

text: Variants of the 8088 with more than 5 MHz maximal clock frequency include the 8088–2, which was fabricated using Intel's new enhanced nMOS process called HMOS and specified for a maximal frequency of 8 MHz. Later followed the 80C88, a fully static CHMOS design, which could operate with clock speeds from 0 to 8 MHz. There were also several other, more or less similar, variants from other manufacturers. For instance, the NEC V20 was a pin-compatible and slightly faster (at the same clock frequency) variant of the 8088, designed and manufactured by NEC. Successive NEC 8088 compatible processors would run at up to 16 MHz. In 1984, Commodore International signed a deal to manufacture the 8088 for use in a licensed Dynalogic Hyperion clone, in a move that was regarded as signaling a major new direction for the company. The available CMOS version was outsourced to Oki Electronic Industry Co., Ltd. When announced, the list price of the 8088 was US$124.80. The plastic package version was introduced on July 1981 for USD $14.10 per 100 in quantities. Intel second sourced this microprocessor to Fujitsu Limited.


title: Intel 8088

text: The 8088 is architecturally very similar to the 8086. The main difference is that there are only eight data lines instead of the 8086's 16 lines. All of the other pins of the device perform the same function as they do with the 8086 with two exceptions. First, pin 34 is no longer (this is the high-order byte select on the 8086—the 8088 does not have a high-order byte on its eight-bit data bus). Instead it outputs a maximum mode status, . Combined with the IO/ and DT/ signals, the bus cycles can be decoded (it generally indicates when a write operation or an interrupt is in progress). The second change is the pin that signals whether a memory access or input/output access is being made has had it sense reversed. The pin on the 8088 is IO/. On the 8086 part it is /M. The reason for the reversal is that it makes the 8088 compatible with the 8085.


title: Intel 8088

text: Depending on the clock frequency, the number of memory wait states, as well as on the characteristics of the particular application program, the "average" performance for the Intel 8088 ranged approximately from 0.33 to 1 million instructions per second. Meanwhile, the codice_1 and codice_2 instructions, taking two and three cycles respectively, yielded an "absolute peak" performance of between and  MIPS per MHz, that is, somewhere in the range 3–5 MIPS at 10 MHz.


title: Intel 8088

text: The speed of the execution unit (EU) and the bus of the 8086 CPU was well balanced; with a typical instruction mix, an 8086 could execute instructions out of the prefetch queue a good bit of the time. Cutting down the bus to eight bits made it a serious bottleneck in the 8088. With the speed of instruction fetch reduced by 50% in the 8088 as compared to the 8086, a sequence of fast instructions can quickly drain the four-byte prefetch queue. When the queue is empty, instructions take as long to complete as they take to fetch. Both the 8086 and 8088 take four clock cycles to complete a bus cycle; whereas for the 8086 this means four clocks to transfer two bytes, on the 8088 it is four clocks per byte. Therefore, for example, a two-byte shift or rotate instruction, which takes the EU only two clock cycles to execute, actually takes eight clock cycles to complete if it is not in the prefetch queue. A sequence of such fast instructions prevents the queue from being filled as fast as it is drained, and


title: Intel 8088

text: in general, because so many basic instructions execute in fewer than four clocks per instruction byte—including almost all the ALU and data-movement instructions on register operands and some of these on memory operands—it is practically impossible to avoid idling the EU in the 8088 at least of the time while executing useful real-world programs, and it is not hard to idle it half the time. In short, an 8088 typically runs about half as fast as 8086 clocked at the same rate, because of the bus bottleneck (the only major difference).


title: Intel 8088

text: A side effect of the 8088 design, with the slow bus and the small prefetch queue, is that the speed of code execution can be very dependent on instruction order. When programming the 8088, for CPU efficiency, it is vital to interleave long-running instructions with short ones whenever possible. For example, a repeated string operation or a shift by three or more will take long enough to allow time for the 4-byte prefetch queue to completely fill. If short instructions (i.e. ones totaling few bytes) are placed between slower instructions like these, the short ones can execute at full speed out of the queue. If, on the other hand, the slow instructions are executed sequentially, back to back, then after the first of them the bus unit will be forced to idle because the queue will already be full, with the consequence that later more of the faster instructions will suffer fetch delays that might have been avoidable. As some instructions, such as single-bit-position shifts and rotates, take literally 4 times as long to fetch as to execute, the overall effect can be a slowdown by a factor of two or more. If those code segments are the bodies of loops, the difference in execution time may be very noticeable on the human timescale.


title: Intel 8088

text: The 8088 is also (like the 8086) slow at accessing memory. The same ALU that is used to execute arithmetic and logic instructions is also used to calculate effective addresses. There is a separate adder for adding a shifted segment register to the offset address, but the offset EA itself is always calculated entirely in the main ALU. Furthermore, the loose coupling of the EU and BIU (bus unit) inserts communication overhead between the units, and the four-clock period bus transfer cycle is not particularly streamlined. Contrast this with the two-clock period bus cycle of the 6502 CPU and the 80286's three-clock period bus cycle with pipelining down to two cycles for most transfers. Most 8088 instructions that can operate on either registers or memory, including common ALU and data-movement operations, are at least four times slower for memory operands than for only register operands. Therefore, efficient 8088 (and 8086) programs avoid repeated access of memory operands when possible, loading operands from memory into registers to work with them there and storing back only the finished results. The relatively large general register set of the 8088 compared to its contemporaries assists this strategy. When there are not enough registers for all variables that are needed at once, saving registers by pushing them onto the stack and popping them back to restore them is the fastest way to use memory to augment the registers, as the stack PUSH and POP instructions are the fastest memory operations. The same is probably not true on the 80286 and later; they have dedicated address ALUs and perform memory accesses much faster than the 8088 and 8086.


title: Intel 8088

text: Finally, because calls, jumps, and interrupts reset the prefetch queue, and because loading the IP register requires communication between the EU and the BIU (since the IP register is in the BIU, not in the EU, where the general registers are), these operations are costly. All jumps and calls take at least 15 clock cycles. Any conditional jump requires four clock cycles if not taken, but if taken, it requires 16 cycles in addition to resetting the prefetch queue; therefore, conditional jumps should be arranged to be not taken most of the time, especially inside loops. In some cases, a sequence of logic and movement operations is faster than a conditional jump that skips over one or two instructions to achieve the same result.


title: Intel 8088

text: Intel datasheets for the 8086 and 8088 advertised the dedicated multiply and divide instructions (MUL, IMUL, DIV, and IDIV), but they are very slow, on the order of 100–200 clock cycles each. Many simple multiplications by small constants (besides powers of 2, for which shifts can be used) can be done much faster using dedicated short subroutines. The 80286 and 80386 each greatly increase the execution speed of these multiply and divide instructions.


title: Intel 8088

text: The original IBM PC is the most influential microcomputer to use the 8088. It has a clock frequency of 4.77 MHz (4/3 the NTSC colorburst frequency). Some of IBM's engineers and other employees wanted to use the IBM 801 processor, some preferred the new Motorola 68000, and others argued for a small and simple microprocessor, such as the MOS Technology 6502 or Zilog Z80, which are in earlier personal computers. However, IBM already had a history of using Intel chips in its products and had also acquired the rights to manufacture the 8086 family.


title: Intel 8088

text: IBM chose the 8088 over the 8086 because Intel offered a better price for the former and could supply more units. Another factor was that the 8088 allowed the computer to be based on a modified 8085 design, as it could easily interface with most nMOS chips with 8-bit databuses. These were mature, and therefore economical, components. This included ICs originally intended for support and peripheral functions around the 8085 and similar processors (not exclusively Intel's), which were already well known by many engineers, further reducing cost.


title: Intel 8088

text: The descendants of the 8088 include the 80188, 80186, 80286, 80386, 80486, and later software-compatible processors, including the Intel Core processors, which are popular today.


title: Club-Mate

text: Club-Mate () is a caffeinated carbonated mate-extract beverage made by the Loscher Brewery ("Brauerei Loscher") near Münchsteinach, Germany, which originated in 1924. Club-Mate has 200 mg of caffeine per litre. Club-Mate has a relatively low sugar content of 50 g per litre, and low calories (200 kcal per litre of beverage) compared to other beverages such as cola or most energy drinks.


title: Club-Mate

text: Some Club-Mate bottles include the slogan "man gewöhnt sich daran" which roughly translates into a challenge to the drinker of “one gets used to it."


title: Club-Mate

text: Examples of Club-Mate-based mixed drinks are: vodka-mate; Tschunk, a combination of rum and Club-Mate; Jaeger-Mate, a mix of Jägermeister and Club-Mate.


title: Club-Mate

text: Geola Beverages of Dietenhofen, Germany originally formulated and marketed Club-Mate under the name Sekt-Bronte since 1924. The drink was only known regionally until acquired by Loscher and marketed under the name Club-Mate in 1994.


title: Club-Mate

text: In December 2007, Loscher marketed a Club-Mate winter edition. The limited-edition Club-Mate consists of the original formula mixed with cardamom, cinnamon, star anise and citrus extract. It is since sold regularly for a limited time during winter.


title: Club-Mate

text: In 2009, a Club-Mate-styled cola variety was introduced. Unlike other colas, its recipe includes mate-extract.


title: Club-Mate

text: As of July 2010, the company listed additional countries like the United Kingdom, the United States, Belgium, Bulgaria and Luxembourg to reach distributors in 40 countries, primarily in Europe, but also in Canada, Australia, Israel, Turkey, Taiwan and South Africa.


title: Club-Mate

text: Club-Mate has developed a following in computer hacker culture and tech start-ups, especially in Europe. Bruce Sterling wrote in "Wired" magazine that it is the favorite beverage of Germany's Chaos Computer Club. It is also popular at Noisebridge and HOPE in the United States, Electromagnetic Field in the UK, the Hack-Tic events in the Netherlands and the FOSDEM in Belgium.


title: Club-Mate

text: There are several variations on the original recipe available: Club-Mate IceT Kraftstoff (an iced-tea variant with slightly higher caffeine content (220 mg per L) and more sugar), Club-Mate Granat (with added pomegranate for a more fruity taste) and Club-Mate Winter Edition (with spices giving it a gingerbread-like taste - this edition is only available during the winter months).


title: Club-Mate

text: Tschunk is a German highball consisting of Club-Mate and white or brown rum. It is usually served with limes and cane or brown sugar.


title: Club-Mate

text: Like Club-Mate, the Tschunk is a typical drink within European hacker culture and can often be found at scene typical events or locations like the Chaos Communication Congress.


title: Valiant Hearts: The Great War

text: Valiant Hearts: The Great War is a 2014 puzzle adventure game developed by Ubisoft Montpellier and published by Ubisoft. The game was released for Microsoft Windows, PlayStation 3, PlayStation 4, Xbox 360 and Xbox One in June 2014. Set during World War I, the game follows four characters who help a young German soldier find his love in a story about survival, sacrifice and friendship. Players solve puzzles by interacting with various objects and people. The characters are accompanied by a dog named Walt who helps players solve puzzles. Collectible items hidden in each chapter reveal facts about the war.


title: Valiant Hearts: The Great War

text: The development team's goal was to assist players to remember World War I during its centenary in 2014. The team stayed away from creating a war game or a first-person shooter and focused instead on depicting the trials and tribulations of soldiers on both sides during the war. To ensure the game was historically accurate, the team listened to first-hand accounts of the war, read letters written by enlisted soldiers and traveled to the remains of wartime trenches in France. As the team had no experience working on a puzzle game, they took inspiration from old LucasArts adventure games as well as titles like "The Cave". "Valiant Hearts" utilizes UbiArt Framework which was previously used in "Rayman Legends".


title: Valiant Hearts: The Great War

text: Upon release, "The Great War" received generally positive reviews. Critics praised the game's themes, visuals, animation, and music, and applauded the developer for enabling players to learn more about history while playing the game. However, the reception to the game's story and gameplay was mixed. "Valiant Hearts" was nominated for several year-end awards, including Best Narrative at The Game Awards 2014. Ubisoft later released the game on additional platforms including iOS, Android, Nintendo Switch, and Google Stadia. A sequel, "Valiant Hearts: Coming Home", is set to be released in January 2023 on Netflix.


title: Valiant Hearts: The Great War

text: "Valiant Hearts" is a side-scrolling, puzzle-based, adventure video game which takes place during World War I. Players assume the role of four characters: Frenchman Emile, his German son-in-law Karl, American soldier Freddie, and Belgian nurse Anna.


title: Valiant Hearts: The Great War

text: The game comprises four chapters split into several sections. Each section requires the player to clear an objective to progress through the story. Most of these involve solving puzzles by obtaining certain items needed for the situation. Other sections include wartime segments requiring the player to survive heavy gunfire, stealth sections where the player must avoid being detected by enemies, and rhythmic car chase sections set to classic songs. Each character can interact with objects, perform a melee attack to knock out guards or smash through debris, and throw projectiles. There are also some traits unique to each character. Emile has a shovel which lets him dig through soft ground, Freddie can cut through barbed wire, and Anna can treat patients for injuries, which requires the player to time button presses.


title: Valiant Hearts: The Great War

text: Players can issue various commands to a dog named Walt, who is able to squeeze into small areas, hold on to and fetch certain items, activate switches, and move around without being suspected by the enemy. The game features optional collectible items hidden in each segment, facts about the war that are unlocked as the game progresses, and a hint system the player can use if they are stuck on a section after a certain amount of time.


title: Valiant Hearts: The Great War

text: The story begins in the year 1914. The Austro-Hungarian Empire declares war on Serbia following the assassination of Archduke Franz Ferdinand. Through established alliances, Russia declares war on Austria-Hungary leading Germany to declare war on Russia in response. Anticipating war, France begins deporting German citizens. Karl, one of the deported Germans, is separated from his wife Marie and their son Victor, and drafted into the German army. Likewise, Marie's father and Karl's father-in-law Emile is drafted into the French army. After completing his training, Emile is thrown into combat during the Battle of the Frontiers. His unit is wiped out, and he is wounded, captured, and forced to cook for the Germans. His captor is Baron Von Dorf, who uses many advanced weapons like chlorine gas and zeppelins to defeat his foes. Karl recognizes Emile while serving under Von Dorf, but the Allies attack Von Dorf's camp and Karl is forced to flee. After he is rescued from the rubble by Walt, a German Army Doberman Pinscher, Emile escapes in the confusion and meets Freddie, an American who volunteered to join the French army after his wife was killed in a German bombing raid led by Von Dorf.


title: Valiant Hearts: The Great War

text: Freddie and Emile meet Anna, a Belgian veterinary student who doubles as a battlefield nurse. She is tracking Von Dorf since he is forcing her father to develop advanced war machines. The three chase Von Dorf's zeppelin from Ypres to Reims. When it crashes, Von Dorf escapes with Anna's father in a biplane. Karl survives the crash and is captured and taken as a prisoner of war. Anna accompanies Karl to the prison to make sure he recovers from his wounds.


title: Valiant Hearts: The Great War

text: Emile and Freddie continue their pursuit to exact revenge on Von Dorf and rescue Anna's father. They assault Fort Douaumont at Verdun where Von Dorf is hiding and capture his newest war machine, a large armoured tank. Although they rescue Anna's father, Von Dorf escapes again. While Emile is separated, Freddie continues his pursuit and finally corners Von Dorf during the Battle of the Somme, defeating him in a fist fight atop his ruined tank. Despite his desire for revenge, Freddie realizes he will not gain anything by killing Von Dorf and spares his life. For his repeated failures, Von Dorf is demoted and sent away from the front lines, a fate worse than death for the status-obsessed man.


title: Valiant Hearts: The Great War

text: Meanwhile, in a French prisoner of war camp, Karl learns his son is ill. Determined to reunite with his family, Karl escapes the camp. Emile believes he was killed while trying to escape. Karl encounters Anna, who helps drive him back to his farm at occupied Saint-Mihiel, but they are both captured by the Germans. Karl escapes when the Allies stage another assault that reaches his farm. He discovers it has been shelled with chlorine gas. Karl saves Marie's life by giving her his gas mask, but he succumbs to the gas. Anna arrives and saves Karl's life. When he recovers, Karl is finally reunited with his wife and son after three years of war and exile.


title: Valiant Hearts: The Great War

text: Back on the front lines, Emile is forced into the bloody and suicidal Nivelle Offensive. As his commanding officer constantly forces his troops into the line of fire and to their deaths, Emile finally reaches his breaking point and strikes the officer with his shovel, inadvertently killing him. He is court-martialed and sentenced to death by firing squad despite the protests of other soldiers. In his final letter to Marie, Emile expresses his hatred of war, his grief at Karl's apparent death and his inability to save his son in law, and hopes that she and her family can find happiness. Emile is executed, and some time later, Karl and his family (with the newly adopted Walt in tow) visit his grave to mourn him. The story ends in 1917 when the United States officially enters the war and sends its army to Europe to fight on the Western Front. The final message states that "Even though their bodies have long since returned to dust, their sacrifice still lives on. We must strive to cherish their memory and never forget..."


title: Valiant Hearts: The Great War

text: Artist Paul Tumelaire began working on "Valiant Hearts: The Great War" as a solo project in 2011. Additional team members from Ubisoft Montpellier, including directors Yoan Fanise and Simon Chocquet-Bottani, joined to work on the gameplay and the story a half-year later. As 2014 was the centenary of World War I, the team wanted to create a game grounded in history. The title was intended to help players remember the war and to suggest the game is also about love. According to the team, the incidents from World War I "touched" them because their great-grandparents had been involved in the war.


title: Valiant Hearts: The Great War

text: Initially, the developers put equal emphasis on both the storyline and its gameplay. However, the gameplay became secondary to the story. The team believed that portraying World War I as a shooter would have made it too violent, and the game would have needed a narrative with a villain and had to depict one of the belligerents as evil. Instead, the team tried to create a game about the trials and tribulations of both sides during the war, showing how individuals lived their lives and struggled to survive. The game does not allow the characters to be actively killed by other in-game characters; the developers hoped to show the human side of the war and feared that allowing players to kill would muddle the message they wanted to convey. The game introduces four characters, and the story switches between them. This enabled the team to create an emotional story with better pacing and ensure that each story beat ends with a cliffhanger. While the story began with some light-hearted moments, the tone of the story became progressively darker and solemn as the war wages on.


title: Valiant Hearts: The Great War

text: The team did not want players to feel overpowered and designed the title as a slow-paced puzzle video game which does not involve much violence. Gameplay mechanics are simple so the game is accessible, but the team introduced different contexts for the use of the gameplay mechanics to ensure they would not become stale. The walking pace of characters was slow to illustrate they are ordinary human beings. According to the team, the presence of these slow puzzle-solving segments helped make the rare action sequences more powerful. As none of the creative leads had experience working on a puzzle game, the team looked at design documents from old LucasArts adventure games for inspiration. They were also inspired by titles including "The Cave", "Machinarium", and "Limbo".


title: Valiant Hearts: The Great War

text: To ensure the game was historically accurate, the development team listened to first-hand accounts of the war from team members' families, read letters written by soldiers, and traveled to the trenches in France. The information and stories they collected were then incorporated into the title as collectibles to let players gain new knowledge about the war. Ubisoft also partnered with the producers of the documentary film "Apocalypse World War I" to incorporate archived materials into the game. However, the game's cast of protagonists is not based on any historical figure as the team did not want to "cross the line between reality and fiction". To create an "immersive soundscape", the audio team inspected archived documents from the French Foreign Legion, and the development team recorded themselves making various screaming sounds.


title: Valiant Hearts: The Great War

text: The game is powered by Ubisoft's UbiArt Framework game engine, which was used previously in smaller Ubisoft titles including "Child of Light" and Montpellier's own "Rayman Legends". The team opted to use a cartoonish visual, as they believed that this art style helped them to retain "respect for the people who went through ... [the war] while also making it accessible". Speech bubbles serve as the main way of showing conversations between characters, since they help to convey a complicated story in a simple manner. Another reason for their use was to avoid having to deal with different languages. The game's cutscenes are similar to a comic book, showing the player something happening far away from the characters using comic viewpoints.


title: Valiant Hearts: The Great War

text: Ubisoft officially announced the game on 13 September 2013. The game was released for Microsoft Windows, PlayStation 3, PlayStation 4, Xbox 360 and Xbox One via digital download on 25 June 2014. An iOS version of the game was released on 4 September 2014. Players who purchased the game before 6 November received a free copy of a digital interactive comic book named "Valiant Hearts: Dogs of War", which stars Walt and his sister. The game was released for the Nintendo Switch on 8 November 2018, and for Google Stadia on 14 July 2022.


title: Valiant Hearts: The Great War

text: The game received generally positive reviews from critics upon release according to review aggregator Metacritic. Joe Juba from "Game Informer" praised the game for successfully depicting a human story that showed a side of war that was rarely depicted. "Polygon"s Danielle Riendeau described the title as "a playable history lesson" noting the game's fictional story, and real-life history resonates with "unexpected intensity". Carolyn Petit of "GameSpot" admired the game's emphasis on helping people rather than killing them—an uncommon theme in video games. Daniel Krupa from "IGN" called the game a "beautiful, harrowing experience", while Philippa Warr of "PC Gamer" noted that the title might have worked better as an "animated comic book adventure" as she felt that the narrative and the interactive components clashed, leaving players feeling detached.


title: Valiant Hearts: The Great War

text: The game's narrative was praised. Chris Carter of "Destructoid" called the story cohesive and praised its theme of friendship and family. He singled out the beginning of the game for being touching, calling it an "emotional tear-jerker". "Eurogamer"s Christian Donlan felt that the story suffered from tonal inconsistencies, though he noted that the game worked best when it was "working on an intimate level", singling out a scenario where players have to escape from a prisoner-of-war camp as an example. Petit praised the game's mix of delightful scenes and war segments, which made the game's tone more diverse, and made "the devastation of the game's grimmer scenes more impactful". Juba disliked the game's thin storytelling because the lack of conversation between the characters was not sufficient to tell a nuanced story. Daniel Krupa, writing for "IGN", disagreed, saying that despite the strangely intelligible sounds, the game's messages were successfully conveyed to players. Riendeau noted that she became emotionally invested in the characters and that seeing them in dangerous situations during the war created tension and a sense of urgency for players.


title: Valiant Hearts: The Great War

text: The gameplay received generally positive reviews. Carter liked the puzzles, which were accessible and not overly challenging to solve. Critics commonly criticized the game's boss encounters, which have been described as out-of-place and frustrating. Donlan felt that the puzzles were uninspired and that the stealth sections were basic. Juba described the gameplay as shallow and felt that the game was not interesting to play. He also noted that the gameplay did not change or evolve throughout the game's campaign. Lucas Sullivan of "GamesRadar" and Petit, however, enjoyed the gameplay's variety; Petit noted that there were a lot of imaginative scenarios. Krupa also liked how each chapter of the game introduced an element of World War One as a new puzzle or a new gameplay mechanic for players to learn, though he noted the game's low replay value. Riendeau called the puzzles intuitive, though she noted that some segments were exaggerated to suit the story. Carter praised the collectibles, which feature real-life photos from World War I, for adding context to the game and Montpellier studio for educating players about the war. However, Sullivan and Krupa felt the collectibles obstructed the flow of the game.


title: Valiant Hearts: The Great War

text: The game's graphics received positive comments. Carter noted that the game looked beautiful with a cartoony art style which fit the narrative. Donlan called the game a "visual delight", praising the graphics, saying the hand-drawn art style elicits a sense of "human warmth" in the players. Ludwig Kietzmann of "Joystiq" agreed, saying that the art style and the animation made the game "inescapably heartfelt" and believed that it helped players to empathize with the characters. Petit called the visuals gorgeous and liked the endearing character designs. She also praised the game's attention to detail, which made the game more immersive. Juba praised the game's soundtracks, calling it "evocative" and "bittersweet" reflecting the game's tone. Krupa called the art direction the game's most striking aspect adding that playing through the game is similar to "watching a wonderful piece of animation".


title: Audrey Munson

text: Audrey Marie Munson (June 8, 1891 – February 20, 1996) was an American artist's model and film actress, considered to be "America's first supermodel." In her time, she was variously known as "Miss Manhattan", the "Panama–Pacific Girl", the "Exposition Girl" and "American Venus." She was the model or inspiration for more than twelve statues in New York City, and many others elsewhere. Munson appeared in four silent films, including unclothed in "Inspiration" (1915). She was one of the first American actresses to appear nude in a non-pornographic film.


title: Audrey Munson

text: Audrey Marie Munson was born in Rochester, New York, on June 8, 1891, to Edgar Munson (1857-1945) and Katherine "Kittie" Mahaney (1863-1958). Her father was from Mexico, New York, and she later lived there. Her parents divorced when she was eight, and Audrey and her mother moved to Providence, Rhode Island.


title: Audrey Munson

text: In 1909 the pair moved to Washington Heights in New York City, where the 17-year-old Audrey sought a career as an actress and chorus girl. Her first role on Broadway was as a "footman" in "The Boy and The Girl" at the Aerial Gardens of the New Amsterdam Theatre, which ran from May 31 – June 19, 1909. She also appeared in "The Girl and the Wizard", "Girlies" and "La Belle Paree".


title: Audrey Munson

text: While window-shopping on Fifth Avenue with her mother she was spotted by photographer Felix Benedict Herzog, who asked her to pose for him at his studio in the Lincoln Arcade Building on Broadway and 65th Street. Herzog introduced her to his friends in the art world. She posed for muralist William de Leftwich Dodge, who gave her a letter of introduction to Isidore Konti. Konti was her first sculptor, and her first nude modeling. From this point Munson would pose for a few well-known visual artists, including painter Francis Coates Jones, illustrators Harrison Fisher, Archie Gunn, and Charles Dana Gibson, and photographers Herzog and Arnold Genthe, but she was predominantly a sculptors' model.


title: Audrey Munson

text: Munson's first acknowledged credit is Konti's marble statuary called "Three Graces" unveiled in the new Grand Ballroom at the Hotel Astor in Times Square in September 1909. She posed for all three graces. Soon after, and for the next decade, Munson became the model of choice for the first tier of American sculptors, posing for a long list of freestanding statuary, monuments, and allegorical architectural sculpture on state capitols and other major public buildings. According to "The Sun" in 1913, "Over a hundred artists agree that if the name of Miss Manhattan belongs to anyone in particular it is to this young woman." By 1915, she was so well established that she became Alexander Stirling Calder's model of choice, when he became Director of Sculpture for the Panama–Pacific International Exposition held in San Francisco that year. Her figure was "ninety times repeated against the sky" on one building alone, atop the colonnades of the Court of the Universe, roughly modeled on St. Peter's Square in the Vatican. In fact, Munson posed for three-fifths of the sculpture created for the event and earned fame as the "Panama–Pacific Girl".


title: Audrey Munson

text: Munson's newfound celebrity helped launch her career in the nascent film industry and she starred in four silent films. In the first, "Inspiration" (1915), made by the Thanhouser Film Corporation in New Rochelle, New York and directed by George Foster Platt, she appeared fully nude in a story of a sculptor's model. The censors were reluctant to ban the film, fearing they would also have to ban Renaissance art. Munson's films were a box office success, although the critics were divided. Thanhouser hired a lookalike named Jane Thomas to do Munson's acting scenes, while Munson did the scenes where she posed nude. Although Munson's appearance in "Inspiration" is sometimes said to be the first occasion of an American actress appearing nude in a non-pornographic film, according to film historian Karen Ward Mahr, it was actually Margaret Edwards who did so in "Hypocrites", which was released earlier in 1915.


title: Audrey Munson

text: Munson's second film, "Purity" (1916), made by the American Film Company in Santa Barbara, California and directed by Rae Berger, is the only one of her films to survive, being rediscovered in 1993 in a "pornography" collection in France and acquired by the French national cinema archive. Her third film, "The Girl o' Dreams", also made by American in Santa Barbara and probably directed by Tom Ricketts from a story by William Pigott (the American Film Institute catalog lists Pigott as director, but all his other credits list him as a writer), was completed by the fall of 1916, but although the film is mentioned on the credit lists of several of its actors in the October 21, 1916 "Motion Picture Studio Directory" it was not released at that time and was not even copyrighted until December 31, 1918; there is no subsequent mention of the film and it may never have been released.


title: Audrey Munson

text: Munson returned to the East Coast by train via Syracuse in December 1916, having been involved with high society in New York and Newport, Rhode Island. There are accounts where her mother insists she married the son of a "Comstock Lode" silver heir, Hermann Oelrichs Jr., then the richest bachelor in America. There is no record of this. On January 27, 1919, she wrote a rambling letter to the U.S. State Department denouncing Oelrichs as part of a pro-German network that had driven her out of the movie business. She said she planned to abandon the United States to restart her movie career in England.


title: Audrey Munson

text: In 1919 Audrey Munson was living with her mother in a boarding house at 164 West 65th Street, Manhattan, owned by Dr. Walter Wilkins. Wilkins fell in love with Munson, and on February 27 murdered his wife, Julia, so he could be available for marriage. Munson and her mother left New York, and the police sought them for questioning. After a nationwide hunt, they were located. They refused to return to New York, but were questioned by agents from the Burns Detective Agency in Toronto, Ontario, Canada. The contents of the affidavits they supplied have never been revealed, but Audrey Munson strongly denied she had any romantic relationship with Dr. Wilkins. Wilkins was tried, found guilty, and sentenced to the electric chair. He hanged himself in his prison cell before the sentence could be carried out.


title: Audrey Munson

text: As a direct consequence or not, the Wilkins killing marked the end of Munson's modeling career. She continued to seek regular newspaper coverage. By 1920 Munson, unable to find work anywhere, was reported as living in Syracuse, New York, supported by her mother, who sold kitchen utensils door to door. In November 1920 she was said to be working as a ticket-taker in a dime museum.


title: Audrey Munson

text: From January through May 1921 a series of twenty serialized articles ran in "Hearst's Sunday Magazine" in dozens of Sunday newspaper supplements, under Munson's name, the whole series entitled "By the 'Queen of the Artists' Studios'. "The twenty articles relate anecdotes from her career, with warnings about the fates of other models. In one she asked the reader to imagine her future:


title: Audrey Munson

text: In February that year, agent-producer Allen Rock took out advertisements showing a $27,500 check he said he had paid Munson to star in a fourth film titled "Heedless Moths", directed by Robert Z. Leonard from his own screenplay based on these writings. She later said the $27,500 check was just a "publicity stunt," and she filed suit against Allen Rock. Those proceedings revealed that the twenty articles had been ghostwritten by journalist Henry Leyford Gates.


title: Audrey Munson

text: In the summer of 1921 Munson conducted a nationwide search, carried by the United Press, for the perfect man to marry. She ended the search in August claiming she didn't want to get married anyway. On October 3, 1921 she was arrested at the Royal Theater (later the Towne Theater) in St. Louis on a morals charge related to her personal appearance with the film "Innocence" (the reissue title of "Purity"), in which she had a leading role. She and her manager, independent film producer Ben Judell, were both acquitted. Weeks later she was still appearing in St. Louis, along with screenings of "Innocence", enacting "a series of new poses from famous paintings".


title: Audrey Munson

text: On June 8, 1931, her mother petitioned a judge to commit her to a mental asylum. The Oswego County judge ordered Munson be admitted into a psychiatric facility for treatment on her 40th birthday. She remained in the St. Lawrence State Hospital for the Insane in Ogdensburg, where she was treated for depression and schizophrenia, for 65 years, until her death at the age of 104. During her stay at the institution, she would often take care of her beauty with milk, yogurt and urine.


title: Audrey Munson

text: In the mid-1950s Munson was sufficiently famous to serve as the subject of an anecdote in a memoir that P.G. Wodehouse and Guy Bolton wrote of their years on Broadway, "Bring on the Girls!" (1953), though that memoir is considered more fiction than fact by Wodehouse's biographer.


title: Audrey Munson

text: She had no visitors at the asylum for over 25 years after her mother died in 1958, but she was rediscovered there by a half-niece, Darlene Bradley, in 1984, when Munson was 93. In the mid-1980s, Munson, in her mid-90s, was moved to a nursing home in Massena, New York, as the original hospital closed, however, she would often escape to a nearby bar, with employees in the nursing home having to find her. As a result, she was moved back to the new mental institution. By the time she turned 100, she had no teeth and lost much of her hearing but was otherwise in good health. Shortly after her 100th birthday, Munson broke a hip. Munson died on February 20, 1996, at the age of 104. She was buried at New Haven Cemetery in New Haven, New York and she received a headstone on her grave on June 8, 2016, 20 years after her death and on what would have been her 125th birthday.


title: Audrey Munson

text: This table is organized by sculptor and date. She posed for most of the sculptors who created architectural and fountain sculptures for the 1915 Panama-Pacific International Exposition, and for other sculptors who exhibited there.


title: Audrey Munson

text: Coverage of Munson's career contained inaccuracies during her lifetime, and errors about the works for which she modeled have been perpetuated. Munson herself was inconsistent about her age and other matters. For example, a June 1915 article listed the 24-year-old Munson's age as 18, and an August 1915 press release claimed that she started posing at age 14 which would have been four years prior to her first known modeling credit, for Konti's "Three Graces" group at the Hotel Astor, unveiled to the public in September 1909 when she was 18.


title: Audrey Munson

text: All four films in which Munson appeared were thought to have been lost, until a copy of "Purity" (1916) was recovered in France in 2009.


title: Audrey Munson

text: In 2010, film director Roberto Serrini made a documentary about Munson which was featured in several news outlets including the "New York Post".


title: Douglas Trumbull

text: Douglas Hunt Trumbull (; April 8, 1942 – February 7, 2022) was an American film director and innovative visual effects supervisor. He pioneered methods in special effects and created scenes for "", "Close Encounters of the Third Kind", "", "Blade Runner" and "The Tree of Life", and directed the movies "Silent Running" and "Brainstorm".


title: Douglas Trumbull

text: Trumbull was born in Los Angeles. His father was an aerospace engineer who had briefly worked in Hollywood creating visual effects for the 1939 movie "The Wizard of Oz".; his mother, who died when Trumbull was 7, was an artist. As a child, he liked to construct mechanical and electrical devices such as crystal-set radios, and enjoyed watching alien invasion movies. He initially wanted to be an architect, leading him to take classes in illustration. He studied technical drawing at El Camino Junior College and joined the Screen Cartoonists Guild upon graduating. However, Hollywood initially rejected his portfolio of spaceships and planetary drawings. Though his abilities in creating photorealistic art led to a job at Graphic Films, which produced short films for NASA and the Air Force.


title: Douglas Trumbull

text: Douglas Trumbull's early work was at Graphic Films in Los Angeles. The small animation and graphic arts studio produced a film called "To the Moon and Beyond" about spaceflight for the 1964 New York World's Fair. Trumbull, the son of a mechanical engineer and an artist, worked at Graphic Films as an illustrator and airbrush artist. He painted a rotating spiral galaxy, and using a fish eye lens, projected the film onto a custom-built dome. The effect was ground-breaking for its time and the film caught the attention of director Stanley Kubrick, who was beginning work on the project that would become "". Kubrick hired director Con Pederson from Graphic Films and the company was to work on visual effects for the film. When Kubrick decided to move all production to England, he cancelled the contract with Graphic Films. Trumbull wanted to keep working on the film as he had already done considerable pre-production work, so he cold-called Kubrick after obtaining the director's home phone number from Pederson. Kubrick hired Trumbull and flew him to London for the production of "2001". Trumbull's first task was to create the dozens of animations seen in the data display screens in the "Aries" moon shuttle and the "Discovery". They looked like computer graphics, but they were created by photographing and animating reproductions of charts and graphs from technical publications. Trumbull initially created the shots using a number of Rube Goldberg-like contraptions he built with gears and motors ordered from a scientific equipment supply house. Kubrick gave the young effects technician creative freedom and encouragement: "He would say ... 'What do you need to do it?' and I would have complete carte blanche, which was wild as a young guy", Trumbull recalled. "I was 23–24 when I started the movie, and was 25 by the time I was doing the Star Gate. He would say, 'What do you need?' and I'd say, 'Well, I need to go into town and buy some weird bearings and some stuff' and he would send me off to town in his Bentley, with a driver, into London. It was great!"


title: Douglas Trumbull

text: Trumbull's responsibilities and talents grew as the production continued, and he became one of four special effects supervisors on the film (the others were fellow Graphic Films alumnus Con Pederson, along with Tom Howard and Wally Veevers.) Trumbull's most memorable contribution was the development of the slit-scan photography process, used in the "Stargate" sequence. "... I just happened to be in the right place at the right time ... We were struggling with the Star Gate. Nobody knew what a Star Gate was; but, I came up with some ideas that I didn't even know at the time were based on some things I was learning as a young guy about street photography and weird photographic techniques ...". He created the Stargate by building a 6ft-tall sheet of rotatable metal and cut a narrow slit in it. The sheet was placed in front of a 12ft-long backlit glass panel, through which lighting patterns were shone. With a long camera exposure, the kaleidoscope of lights appeared to be darting towards the camera from a single point.


title: Douglas Trumbull

text: Trumbull and Kubrick wanted the audience to feel like they were on the adventure themselves, and immersed in the film by participating. This approach eventually led to the Imax system of high resolution projection, which Trumbull helped to develop. Working on "2001" hooked Trumbull on the concept of producing immersive film experiences on huge screens — ironically, at a time when the industry was moving towards the multiplexing of theatres with smaller screens.


title: Douglas Trumbull

text: Although Trumbull's association with Kubrick was a huge boost for his career, he swore afterwards that he would "never work for someone else again", in part because Kubrick "was a hell of a taskmaster ... his level of quality-control bordered on perfectionism."


title: Douglas Trumbull

text: The film earned an Oscar for best special effects, but the award went solely to Kubrick, with Trumbull receiving none of the accolade for his work. This led to threats of legal action and the two men did not speak for a decade. Trumbull said after Kubrick's death that Kubrick "was a genius", someone whom Trumbull missed terribly.


title: Douglas Trumbull

text: In 1969 Trumbull was filming the annual Flying Saucer Convention in Giant Rock California. This evolved into a full-length project initially called Giant Rock, Rutabaga Deluxe, and then "Saturation 70: An Ecological Horror Fantasy". The star of the film was a five-year-old Jason Jones, who was the son of Brian Jones, of Rolling Stones fame. The story involved Jones losing his mother in a giant garbage dump and wandering a desolate planet looking for her, while being menaced by gas-masked garbage men and helped by a fairy godmother in a sequined cowgirl creation by Nudie. Some footage includes a battle with a Green Beret and a Viet Cong in a supermarket. Trumbull's partner on the film was Anthony Foutz. A company called Dimension V took over backing of the film.


title: Douglas Trumbull

text: Having returned to Hollywood, Trumbull set up his own company and subsequently bid on the job to produce special effects for the science-fiction film "The Andromeda Strain". ("I was a young guy and very naive", he later recalled, "And I seriously underbid the job – I had no idea what these things were supposed to cost. I nearly went bankrupt as a result!") Trumbull and associate James Shourt produced dozens of shots, including the "electron microscope" pictures of the Andromeda organism and various on-screen readouts. Though many of these looked like computer graphics, they were created using techniques Trumbull had used for "2001." Author Michael Crichton and director Robert Wise were much impressed by Trumbull's work.


title: Douglas Trumbull

text: Trumbull's participation and success on "Andromeda" set him up to direct the 1971 film "Silent Running", with a script based on his original treatment: America's last great forests are preserved and sent into space inside huge geodesic domes, in the hope that one day they can be returned to an earth that can once again sustain them. When orders are issued by faceless bureaucrats to abandon and destroy the domes, the ship's botanist (Bruce Dern) rebels and takes over the ship, aided by three anthropomorphic "drone" robots. He steers the ship away from the fleet and hides among the rings of Saturn, out of contact (silent running), attempting to keep the forest in good health, alone except for the drones who follow him around like pets.


title: Douglas Trumbull

text: "Silent Running" was produced by Universal on a shoestring budget of one million dollars, one-tenth the budget of "2001". The film used a number of special effects techniques that Trumbull had helped develop. The spacecraft interiors were shot aboard a mothballed aircraft carrier, which lent its name to the movie spacecraft "Valley Forge". Trumbull was not originally slated to direct, but as the start of production loomed he became the obvious choice. (Other newcomers included the script writing team of Deric Washburn and Michael Cimino, who would later collaborate on "The Deer Hunter", along with writer Steven Bochco of "Hill Street Blues" and "L.A. Law" fame.)


title: Douglas Trumbull

text: When "Silent Running" was released, insiders were astonished that the finished film had been produced for so little money. Lead actor Bruce Dern compared Trumbull's creative vision to that of Alfred Hitchcock, with whom Dern had also worked. Trumbull was seen as one of Hollywood's up and coming young directors.


title: Douglas Trumbull

text: Although a critical success, "Silent Running" was a flop at the box office. Trumbull recalled that "It was just a great experience for me as a film maker, but I didn't know that I was part of an experiment by Universal Studios . . . to see if it was possible to have a movie survive on word of mouth alone without an advertising campaign." It was not, but "Silent Running"s environmental message struck a chord, and the movie has since become a cult classic.


title: Douglas Trumbull

text: After "Silent Running", Trumbull developed a number of movie projects, but a series of misfortunes and bad luck kept them from getting beyond the initial development stage. One project nearly did get into production, and was already being cast when it was abruptly scuttled – the investor had decided to abandon the movie business and build a Las Vegas casino instead. Trumbull described this period of his career as "development hell". Unable to live on development fees alone and needing money, Trumbull returned to creating special effects, including some uncredited work using blue screen techniques on the 1974 film "The Towering Inferno", a huge commercial hit.


title: Douglas Trumbull

text: In 1975, Trumbull turned down an offer to provide the effects for George Lucas' "Star Wars" due to other commitments, but in 1977 he contributed effects to "Close Encounters of the Third Kind". In late 1978, Trumbull's Future General Corporation, a research/special effects house that was funded by Gulf + Western and Paramount Pictures, was offered the job to produce the special effects for "". Trumbull, already deeply involved in "Close Encounters", refused, wanting instead to focus his efforts on his patented Showscan process, a high-speed, large-format movie process that provided unprecedented visual clarity. Paramount awarded the contract to effects house Robert Abel and Associates, and in a move seen by some as payback for Trumbull's refusal to take on the project, all but shuttered Future General.


title: Douglas Trumbull

text: Robert Abel had produced many high-end, visually advanced commercials for clients such as 7-Up, but it soon became apparent that their choice of technology, which featured software-controlled camera rigs and graphics imaging systems very advanced for the day, simply couldn't scale up to the volume of material required. In August 1978, with rumors of an impending meltdown at Abel swirling, Trumbull approached Paramount offering to step in and do the effects with partner Richard Yuricich. Paramount declined, hoping that Abel could still work a miracle.


title: Douglas Trumbull

text: Early in 1979, and with principal photography nearly finished and a December release date looming, Abel was fired after failing to produce even a few seconds of usable footage. Paramount approached Trumbull to take over effects production, which Trumbull did after securing an agreement to be released from his contract at Paramount upon completion of the film. "At the time", he recalled, "I think they would have entertained "anyone" who could have pulled them out of the jam." Trumbull reassembled his Future General team, rebuilt his facility which Paramount had nearly gutted, and with a mere six months to create the hundreds of effects shots needed, worked virtually around the clock for months. His team made the date, but their in-house battle cry became "... crop it, flop it, or drop it!" (That is, re-use part of an existing scene, take an existing scene and "flop" it over so that a right-to-left shot of the ship now plays the other way, or "drop" the shot from the script altogether.)


title: Douglas Trumbull

text: The model of the "Enterprise", already built by the time Trumbull's team took over, proved especially tricky. While the model of "Discovery" in "2001" was over 50 feet (15 m.) long and featured a wealth of detail (from parts gleaned from, among other things, hundreds of plastic model tank kits), the model of the "Enterprise" was only seven feet (2 m.) in length, which severely limited the photographic possibilities. Other compromises had to be overcome. Trumbull had several ideas for unconventional effects – such as a modified slitscan technique to produce fantastic streaks when the "Enterprise" went into warp drive, but many had to be shelved due to time constraints. Trumbull also made several contributions to the story line, in collaboration once again with his "Andromeda Strain" director Robert Wise.


title: Douglas Trumbull

text: As Trumbull told Wolfram Hannemann of "in70mm.com", "There were as many shots [in the movie] as "Close Encounters" and "Star Wars" combined ... There were 650 shots, which had to be completed in six months ... and we all worked 24 hours a day for six months. Seven days a week, around the clock, to get that movie done ... I ended up in the hospital – it was a major recovery. I had ulcers, all kinds of exhaustion because I was working seven days a week, almost living in the studio, not getting enough sleep."


title: Douglas Trumbull

text: In 1981 Trumbull directed the special effects for the Ridley Scott film "Blade Runner". By this time Trumbull had sworn off doing special effects for other directors, but was lured to the project by the opportunity to work with Scott, and a chance to create something other than sterile, grey and white spacecraft. "One of the things that appealed to me about the project", Trumbull recalled in an interview in Cinefex magazine, "was that it was NOT a space movie. I'm just real tired of doing spaceships against star backgrounds." Indeed, the iconic images of a polluted, dystopian Los Angeles, looking more like an oil refinery than a metropolis, and complete with building-sized electronic billboards and a bulbous blimp circling overhead advertising "Off World" job opportunities became the film's visual trademarks. (Despite the experience and professionalism of Trumbull's disciples, not everything went smoothly. According to Cinefex magazine, a young model maker was giving his girlfriend a tour of the effects shop, and he noticed that a large model of a building being photographed in the "smoke room" – a sealed room specially constructed to provide a smoky atmosphere – was burning fiercely. Thinking this was just another effect, he mentioned it in passing to a supervisor, who immediately grabbed an extinguisher and ran to put out the fire. The plastic and fiberglass model had been mounted too close to a powerful light which eventually set it ablaze.)


title: Douglas Trumbull

text: Trumbull did not complete "Blade Runner", (David Dryer took over as special effects supervisor) leaving the film as agreed about halfway through to concentrate on pre-production for his next directing effort, "Brainstorm", a story of two brilliant scientists who develop a revolutionary device to record and vicariously experience other people's feelings and perceptions, a device the military tries to steal for its own purposes.


title: Douglas Trumbull

text: "Brainstorm" was to be a showcase for Trumbull's "Showscan" process, which used special cameras and projectors to capture and project 70 mm film at 60 frames per second. At the last minute the Showscan process was not used, because theatre owners balked at the idea of installing expensive new projection equipment. The film was shot conventionally at 24 frames per second on 35 mm film, though Trumbull continued his process of shooting effects work in 70 mm. "In movies people often do flashbacks and point-of-view shots as a gauzy, mysterious, distant kind of image", Trumbull recalled, "And I wanted to do just the opposite, which was to make the material of the mind even more real and high-impact than 'reality'".


title: Douglas Trumbull

text: The film was nearly scuttled by the mysterious drowning death of Natalie Wood during a break in production. MGM immediately shut down production and initially wanted to dump "Brainstorm" (and collect the insurance on the unfinished film). Trumbull argued that the film could easily be finished – Natalie Wood's performance was already "in the can" and only a few scenes would have to be reshot. Lawyers and insurance companies battled over whether to even complete the film. The movie was finally finished two years later when the insurance company supplied the money to finish production. Trumbull had pushed all the while for the studio to finish and release his movie. "I can do this", Trumbull recalled in an interview with GreenCine, "I've got all the coverage ... All you need to do is let me in the editing room and I'll show you. They said, 'No, you can't come back, we don't want you in the cutting room, you can't finish this movie.'" Because of his determination to finish his film, Trumbull became "persona non grata" at MGM in the process. Eventually released on a small number of screens and with little publicity (though Trumbull recalled in the Greencine interview that the film became "Quote, Natalie Wood's last film, unquote") "Brainstorm" was well received critically but a commercial failure at the box office.


title: Douglas Trumbull

text: Exhausted from his battles with the Hollywood system ("The movie business is so totally screwed up that I just don't have the energy to invest three or four years in a feature film"), Trumbull retreated to the Berkshire Hills of western Massachusetts, to escape "the lawyers, the insurance agents, the creeps", redirecting his career away from traditional Hollywood projects and concentrating instead on developing new technology for movie production, and for the exhibition industry and theme-park rides, such as the at Universal Studios Theme Park. Until recently, Trumbull's Showscan technology could be seen on a theme-park type ride at the Luxor Hotel in Las Vegas.


title: Douglas Trumbull

text: In 1994 Trumbull was briefly a Vice Chairman of IMAX Corporation and President of its Ridefilm division through his involvement in the simultaneous combination and takeover of the Canadian-based private company Imax Corp. and Trumbull Co.


title: Douglas Trumbull

text: Trumbull spent nearly two decades in the Berkshire hills of western Massachusetts, starting and running a series of companies involved in effects production and innovation.


title: Douglas Trumbull

text: In 2010, Trumbull used social media to publicize a video on Vimeo and YouTube demonstrating an invention intended to cap the BP oil spill with a strong vacuum seal. Although the video "went viral" almost immediately, Trumbull never heard from BP or any of the US government agencies struggling to contain the spill, which left him bemused and mildly annoyed. "I didn't do it with the hope of compensation", he later said, "I did it because I thought it was the moral thing to do."


title: Douglas Trumbull

text: After nearly thirty years away from Hollywood, Trumbull contributed to special effects work on Terrence Malick's 2011 film "The Tree of Life". Malick, reportedly a Trumbull fan, approached him about the effects work and mentioned that he did not like the look of computer-generated effects. Reportedly Trumbull asked, "Why not do it the way we did it on 2001?" Recent compositing programs such as Nuke allow practical scenes shot on film to be combined with fewer of the head-aches of "traditional" effects work, such as shooting multiple camera passes on a single piece of film, matte passes, and the like. Trumbull eventually signed on as special effects consultant, working with the film's effects supervisor, Dan Glass. Many of the "organic" effects processes used in "2001" and "Close Encounters" were resurrected, such as photographing chemical interactions in petri dishes and releasing paints into water tanks. "It was a working environment that's almost impossible to come by these days", Trumbull told The Guardian newspaper in July 2011. "Terry wanted to create the opportunity for the unexpected to occur before the camera, then make something of that. He didn't want to use a very stringent design process, he wanted the unexpected phenomenon to occur – and use that."


title: Douglas Trumbull

text: In March 2011, director James Cameron announced plans to film his next "Avatar"-type 3D feature in a digital version of Showscan. Cameron has been pushing for movie theatres to adopt higher frame-rates to maintain the 3D effect during scenes involving high-speed motion (such as explosions). At twenty-four frames per second the 3D effect breaks down, while at forty-eight or sixty frames per second it is maintained. Sixty frames per second is difficult to achieve with conventional film because of the stress on the medium itself; recording sixty frames per second using a digital camera is commonplace.


title: Douglas Trumbull

text: In 2012 Trumbull said he was working on a new science-fiction project that he claimed is "way beyond anything that Peter Jackson and James Cameron have been doing", which will probably be shot with a camera capable of recording 120 frames per second, twice the speed of its ancestor, Showscan.


title: Douglas Trumbull

text: Since 2013 Trumbull maintained a workshop and studio on his property in the Berkshire hills of Massachusetts where he continued to develop new tools for film-makers. He often traveled to film screenings and seminars and was enjoying a resurgence of his celebrity among film and visual effects enthusiasts. Trumbull seemed grateful for the recognition and reverence accorded by his followers. "They really keep me going", he told The Australian newspaper in February 2011. "They reinforce some enthusiasm about my work. It's very hard to keep me going, because the setbacks [were] really tragic and difficult." When asked by a reporter how he had managed to persevere in the face of setbacks, Trumbull laughed and replied that he didn't know, and "Maybe I'm just out of my mind!"


title: Douglas Trumbull

text: In 2014 Trumbull announced that he had developed a new digital capture and projection system called Magi. It shoots and projects native 3D in 4K at 120 fps, using an innovative technique he called "cadence", which had never been used in previous 3D systems: "We were shooting 60 [frames] per eye, projector was going 120—left eye, right eye, left eye, right eye. You’re shooting the same way you’re going to project it. And that's when this magic happens. It's only one flash per frame, and the sequence is actually temporally correct. There are in fact 120 different positions. Anything that moves in front of the camera is going to have 120 different positions." That year he also produced a short dramatic film, UFOTOG, to highlight the capabilities of the Magi system. The story deals with a man who has developed a sophisticated 3D photographic system to track UFOs and prove their existence, despite interference from a shadowy government agency. The film has been shown at film festivals and industry conferences and to filmmakers and studio executives.


title: Douglas Trumbull

text: In 2016, he told Science & Film, "I am planning on making a feature-length movie that will be almost entirely miniatures, but it will be photorealistic, full-scale, epic in quality, and have the kind of things that I like about "Blade Runner" and "2001"."


title: Douglas Trumbull

text: In 2018, Trumbull provided the visual effects for and executive produced the movie "The Man Who Killed Hitler and Then the Bigfoot". The same year, he participated in the documentary "Trumbull Land" (Grégory Wallet, 2018) devoted to him and his universe.


title: Douglas Trumbull

text: Trumbull was twice honored by the Society of Motion Picture and Television Engineers (SMPTE). Most recently, he received the Progress Medal in recognition of his numerous contributions to photographic processes and technologies in visual effects (VFX) and HFR cinematography. Trumbull conducted pioneering biometric research on audience response to HFR imaging and developed a novel cinematic process using 65mm film at 60 frames per second that resulted in a "Giant Screen" 70mm image with extraordinarily high definition along with smoother and more realistic motion rendering. His work continues to advance stereoscopic 3D and digital HFR imaging including his 120FPS Magi single-camera/single projector "lens-to-lens" system that harnesses existing cameras, post-production tools, and projectors to deliver images and sound that are almost indistinguishable from reality. The Progress Medal is the most prestigious SMPTE award, and it recognizes outstanding technical contributions to the progress of engineering phases of the motion picture, television, or motion-imaging industries. The honor was conferred upon Trumbull at the SMPTE Centennial Gala on October 28, 2016, at the Ray Dolby Ballroom in Hollywood. In 2011, he received the SMPTE Presidential Proclamation, which recognizes individuals of established and outstanding status and reputation in the motion-picture, television, and motion-imaging industries worldwide. Trumbull was honored for his more than 45 years of pioneering work in visual effects photography and groundbreaking innovation in motion picture technologies.


title: Douglas Trumbull

text: Trumbull was inducted by the Science Fiction Hall of Fame in 2010, citing first his stature as "innovative master of special effects". He has been nominated for Academy Awards on three occasions and has received the American Society of Cinematographer's Lifetime Achievement Award.


title: Douglas Trumbull

text: Trumbull received the International Press Academy's Tesla award in December 2011, named in honor of Nikola Tesla, an inventor, scientist and engineer, who, Trumbull noted dryly in a runway interview, "Died penniless, after lots of people took credit for his work." He went on to say that he hopes it doesn't turn out that way for him. Trumbull also received the Gordon E. Sawyer Award in February 2012, an honorary Academy Award given to an "individual in the motion picture industry whose technological contributions have brought credit to the industry", as well as the Georges Méliès award from the Visual Effects Society in the same month.


title: Douglas Trumbull

text: Trumbull was married three times and had two children. He was in poor health for the last two years of his life, due to complications from a stroke and cancer. He died from mesothelioma at a hospital in Albany, New York, on February 7, 2022, at the age of 79. His ashes are due to be sent into space with Majel Barrett and Nichelle Nichols.


title: At. Long. Last. ASAP

text: At. Long. Last. ASAP (stylized as AT.LONG.LAST.A$AP) is the second studio album by American rapper ASAP Rocky. It was released on May 26, 2015, by ASAP Worldwide, Polo Grounds Music, and RCA Records. The record serves as a sequel from Rocky's previous studio effort "Long. Live. ASAP" (2013). The album's executive production was provided by Danger Mouse, mentor ASAP Yams and Rocky himself, featuring production by Rocky and Danger Mouse, as well as a variety of several high-profile producers, including co-executive producers Hector Delgado and Juicy J, Jim Jonsin, FnZ, Frans Mernick, Kanye West, Thelonious Martin, and Mark Ronson, among others. The album features guest appearances from Bones, Joe Fox, Future, Schoolboy Q, Kanye West, Lil Wayne, and A-Cyde, among others.


title: At. Long. Last. ASAP

text: "At. Long. Last. ASAP" was supported by three singles: "Lord Pretty Flacko Jodye 2 (LPFJ2)", "Everyday", and "LSD". The album received generally positive reviews from critics and debuted at number one on the US "Billboard" 200. It is Rocky's second US number-one album. The album was certified platinum by the Recording Industry Association of America (RIAA).


title: At. Long. Last. ASAP

text: On March 16, 2014, announcements were made for two releases; including their first instrumental mixtape, "Beauty and the Beast: Slowed Down Sessions (Chapter 1)", and the ASAP Mob's collaborative album, "L.O.R.D." ASAP Rocky revealed that he had been working on his second album. On September 26, 2014, ASAP Mob's founder ASAP Yams announced on his Tumblr account that the group scrapped the release for their collective's album, "L.O.R.D.", and instead named Rocky's second album as the label's next release. On October 2, 2014, Rocky announced that he signed a contract for worldwide representation with William Morris Endeavor.


title: At. Long. Last. ASAP

text: On January 18, 2015, ASAP Rocky's mentor and business partner Yams died at the age of 26, which greatly affected the album's development. Upon ASAP Yams' death, Rocky revealed that his second album would be executive produced by himself and Yams, alongside rapper Juicy J, and record producer Danger Mouse; as well as collaborating with artists such as FKA Twigs and Lykke Li, with production by Clams Casino.


title: At. Long. Last. ASAP

text: After performing at the 2015's South by Southwest (SXSW) festival, ASAP Rocky revealed to "Billboard", that the title to his second album would be "A.L.L.A.". On March 26, 2015, in an interview with "GQ", Rocky deciphered the album's title: "I'm claiming ownership of my legacy. Look at it: "At.Long.Last.A$AP." A-L-L-A. Like slang for 'Allah.' It's the return of the god MC. I'm named after Rakim, and I'm finally facing what it means: I was born to do this shit. And I hope I get to do it for a very long time."


title: At. Long. Last. ASAP

text: Upon the release of the song "M's" (stylized "M'$"), Rocky revealed that he had also worked with New York City rapper Mos Def, as well as up-and-coming British musician Joe Fox (who is prominently featured on many tracks on the album). Hector Delgado and Rocky say that they met Joe Fox while roaming the streets of London: "I met the man. He was a street performer. [I met him in] London. I was at Dean's Studio until 4 a.m. I came outside and we waiting for our Uber to go to Starbucks, tired. This kid comes with his guitar and stuff. He was out there playing and stuff and he comes," Rocky explained of his first encounter with Fox. "It was about 4 a.m. so there's nobody in the streets. He tried to give me a CD and shit. I was like, 'I'm not about to listen to that, man. Play something. You got your guitar.' He played it and I was just like, 'Stop man. Come on let's go.' That's where it started."


title: At. Long. Last. ASAP

text: On October 2, 2014, ASAP Yams and ASAP Rocky posted links to their website FlackoJodyeSeason.com, and then announced that Rocky's new single would be releasing at midnight. On October 3, Rocky released the album's promotional single, "Multiply" featuring Memphis-based rapper Juicy J. The song was accompanying by the music video (directed by ASAP Rocky and Shomi Patwary), which was officially released at midnight on the website, which had previously displayed a countdown timer. Upon the release, Rocky teased the release of his second studio album, which gave no further details.


title: At. Long. Last. ASAP

text: On April 8, 2015, a song that was called "M's" debuted during Rocky's interview with the Red Bull Music Academy, and the song was released two days later on the iTunes Store. However, Rocky denounced the song as an official single from the album. The album version includes a re-worked version of the track, replacing Rocky's second verse, with a guest verse from New Orleans-based rapper Lil Wayne. On May 7, Rocky announced that the release date for the album is on June 2, 2015. On May 9, Rocky unveiled the album's cover art on his Instagram page, with the caption "AT LONG LAST..." On the same day, he also released the album's alternative artwork.


title: At. Long. Last. ASAP

text: On May 25, 2015, the album was leaked online, approximately one week before its expected release. Rocky later tweeted to announce that the album had to be released at midnight, advancing the date to a week early. The album was released to digital retailers on May 26, 2015, by ASAP Worldwide, Polo Grounds Music and RCA Records. On August 30, Rocky performed "M's" and "LSD" at the 2015 MTV Video Music Awards.


title: At. Long. Last. ASAP

text: On January 7, 2015, ASAP Rocky released the album's lead single, titled "Lord Pretty Flacko Jodye 2 (LPFJ2)". The song was produced by the duo Nez & Rio. The music video, which was directed by Rocky, was released on February 11, 2015.


title: At. Long. Last. ASAP

text: On May 8, 2015, Rocky released the album's second single, titled "Everyday". The track features guest appearances from musician Rod Stewart, American R&B recording artist Miguel, and Mark Ronson (who also produced the track as well, alongside Emile Haynie).


title: At. Long. Last. ASAP

text: On May 19, 2015, Rocky released a music video for "LSD" (stylized "L$D", which stands for Love, $ex, Dream). The song was produced by Hector Delgado, Jim Jonsin and Finatik N Zac. The music video was directed by Dexter Navy. "LSD" was officially released as the album's third single on May 21, via digital distribution.