text:
ETF Mapping/More to explore

More to explore
This section discusses additional noteworthy features of ETF mapping (not just related to entities) and provides links to further online resources.

Compiling with q3map2
Here is the complete manual to q3map2: Q3Map2

Make sure you use  ,   and    switches on each phase of the compile (bsp, vis, light)

Example of a .bat used to compile etf_2stoned: "C:\Program Files\GtkRadiant-1.4\q3map_2.5.16\q3map2.exe" -v -game et -fs_basepath "D:\Games\Wolf-ET" -meta -custinfoparms -fs_game etf "D:\Games\Wolf-ET\etmain\maps\etf_2stoned.map" > compile-recent-bsp.log

"C:\Program Files\GtkRadiant-1.4\q3map_2.5.16\q3map2.exe" -fs_basepath "D:\Games\Wolf-ET" -fs_game etf -game et -vis -saveprt "D:\Games\Wolf-ET\etmain\maps\etf_2stoned.map" > compile-recent-vis.log

"C:\Program Files\GtkRadiant-1.4\q3map_2.5.16\q3map2.exe" -fs_basepath "D:\Games\Wolf-ET" -fs_game etf -game et -light -fast -q3 -samples 2 -bounce 8 -dirty -patchshadows -shade -v "D:\Games\Wolf-ET\etmain\maps\etf_2stoned.map" > compile-recent-light.log

Decompiling BSPs into map files
A good way to learn is to examine how specific map features are implemented in an existing map. With the q3map2 tool included with GtkRadiant, you can take a .pk3 archive with the map, extract it and decompile the contained BSP file into a .map file:

q3map2.x86 -convert -format map -game et -fs_basepath /path/to/enemy-territory/etf /path/to/etf_map.bsp

The created etf_map_converted.map file is suitable for viewing with GtkRadiant or a text editor.

Particle system
ETF includes a particle engine for making light effects, sparks, etc. To add a source of particles to your map, create an entity like the one in the example below:

{   "classname" "misc_particlesystem" "origin" "8 0 80" "script" "spirit/maps/muon_blue_sparks.spirit" "dir" "90" }

The "script" attribute refers to a script file in one of the *.pk3 archives available to the game engine. To see examples, extract the *.spirit files contained in the pk3s shipped with ETF.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: ETF Mapping/More to explore


text:
History of video games/Games/Tetris

History
Tetris is a falling block puzzle game developed by Alexey Pajitnov in 1984. It is perhaps the best known video game to have originated in the Soviet Union.

title: History of video games/Games/Tetris


text:
Talk:Pokémon

Could we integrate this into the textbook Game Guides and Strategy? Maybe it would be better when you get the walkthroughs started, but keep that in mind when you do. And please put the game walkthroughs on seperate pages, because we'll want to link them to the video game systems' list of guides. Thanks! - SamE 00:59, 24 Jul 2004 (UTC)

If you want to, go right ahead, as all of my effort is on the Wikibooks Pokédex right now. Fitting this in within the Game Guides and Strategy framework should not be too difficult. KelvSYC 20:22, 16 Nov 2004 (UTC)

Scope & Expansion
This guide was written as a comprehensive guide to Pokémon. That was well and good when it was written and there were just 3 "generations" to deal with. However each "generation" of Pokémon adds significant differences, with features added and removed in each. There are now 8 such iterations of the series, and there will likely be more. I'm unsure this book as it is structured can handle that without either becoming a clunky mess or replicating most of the work that Bulbapedia editors have already accomplished. Without the benefit of having nearly two decades of iterative improvements to translate that into a decent reading experience, this would be a herculean effort.

I think it would be beneficial to make this book a general guide to the Pokémon series, similarly to what the book Metal Gear Series has done for Metal Gear, while porting information specific to individual games to their own strategy guides. This neatly solves a number of issues related to maintenance, prose, and other issues which would come with updating the current book. However, if someone wanted to take the ambitious route of updating this whole book to contemporary standards, that would also solve the issue. --Mbrickn (discuss • contribs) 02:48, 12 June 2021 (UTC)

 * Sorry for late response. That is what I've been sort of trying to accomplish, by splitting by game article. See here: Pokémon/Game Walkthroughs. 2005-Fan (discuss • contribs) 12:55, 11 July 2021 (UTC)
 * Just found this book and saw how cool the plan will be. I am currently working on just the Pokémon cards put will maybe one day work on the walkthrough of some of the games. Marth996 (discuss • contribs) 03:36, 15 June 2023 (UTC)

Image addition
I think it might be useful to add images of the Pokémon so the reader have an idea of how it looks like. Pearl sweetly (discuss • contribs) 18:46, 23 June 2024 (UTC)

title: Talk:Pokémon


text:
User:Lukkho

Awonke 👌Khanyaa

title: User:Lukkho


text:
Template:Header/doc

Parameters

 * = title of the work, for subpage use relative links (mandatory)
 * = name of author (automatically wikilinks)
 * where control of linking is required use override_author, and leave the field empty
 * = name of subdivision of work, usually used on subpages, typically text without additional formatting
 * = name of previous part of work; relative links on subpages, full links otherwise
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The only mandatory field for text is.

The other standard parameters can be left empty, as required, though please do not remove them as that will cause a template error.

title: Template:Header/doc


text:
User:ShayMTR/sandbox/Epistemology/Maybe knowledge can't be analysed

User;shayMTR /sandbox /epistemology maybe knowledge can't be analysed by a page Search for

User: shayMTR/sandbox (epistemology can't be analysed in exits name space us

So we must look or we must search shayMTR sandbox epistemology so we can find more knowledge


text:
User:H1 with a gun

h1LMG

title: User:H1 with a gun


text:
Glidis, o Jonathan!

A Volapük translation of Salute, Jonathan!

Learn Volapük naturally through comprehensible input and TPR Storytelling.

Kapits

 * Kapit: 1
 * Kapit: 2

title: Glidis, o Jonathan!


text:
Glidis, o Jonathan!/Kapit 1

Ninäd - Kapit 1 - Kapit 2 - Kapit 3

Del balid mayula (mayul, 1)
Man stanom in zif. Man bepenom pämi. Man logom zifi.

Man stanom-li in zif? Si! Stanom in zif.

Man stanom-li in... man? Nö! no stanom in man. Stanom in zif.

Stanom-li in tren? Nö! no stanom in tren. Stanom in zif. Man stanom in zif.

Man bepenom-li pämi? Si! bepenom pämi.

Päm bepenon-li mani? Nö! päm no bepenon mani. Päm no penon. Man penom. Man bepenom pämi.

Zif logon-li mani? Nö! zif no logon mani. Zif no logon. Man logom. Man logom-li zifi? Si! man logom zifi.

Kiöpo (kitopo) man stanom-li? Stanom in zif. Kini man bepenom-li? Bepenom pämi. Kisi man logom-li? Logom zifi. Stanom in zifi, e bepenom pämi, e logom zifi.

Man stanom-li in päm? Nö! penom in päm. Man logom-li mani? Nö! no logom mani; logom zifi.

Man binom gretik. Man binom gudik, e man binom sagatik. Tikom. Tikom dö zif. Tikom: „Kis binon-li zif? Zif binon-li gudik? Zif binon-li gretik?”

Man bepenom-li zifi? Nö! no bepenom zifi; zif binon gretik. Bepenom pämi; päm no binon gretik.

Päm tikon-li dö man? Nö! päm no tikon. Man tikom. Tikom dö päm, e tikom dö zif.

E penom in päm. Penom dö zif. Penom: „Zif binon gudik, e zif binon gretik.”

Tikom: „Zif binon gudik”; tikom, das zif binon gudik. Tikom: „Zif binon gretik”; tikom, das zif binon gretik. Tikom dö zif, e tikom dö päm.

Kis binon-li päm? Päm binon ut, kö man penom; penom in päm. In päm man penom dö zif. In päm man no penom dö tren; man stanom in zif, no in tren. No tikom dö tren; tikom dö zif, zif: ‚München’.

Zif at binon-li kinik? At binon el München. Kiöpo el München topon-li? Topon uto, kö man stanom. Kiöpo man binom-li? Binom in el München.

El München sio binon zif gretik e zif gudik. Man tikom, das el München binon zifi gudik, e tikom, das binon zif gretik. Man binom sagatik. Sagom: „Glidö! o München!” Binom man gudik!

Man stanom e tikom: „Kiöpo tren binon-li?” Logom... logom treni! Tikom: „Tren!” Nu no tikom dö päm e no tikom dö zif; tikom dö tren!

om, on, ob
👨🏻👈 = om (binom, tikom, logom, stanom, sagom)

📝👈 = on (binon)

🏙👈 = on (binon)

🙋🏻♂ = ob (binob, tikob, logob, stanob, sagob)

-li
-li = ?

Man stanom in zif.

Man stanom-li in zif?

Zif e zifi
Zif binon gretik.

Man stanom in zif.

Man logom zifi.

El München binon gretik.

Logob eli München.

dö
Man tikom dö el München.

Man penom dö el München.

Man penom: „Logob treni!” Penom dö tren.

Vödastok

 * man: 👨🏻
 * päm: 📝
 * zif: 🏙
 * tren: 🚂
 * log: 👀
 * pen: 🖋
 * stan: 🧍
 * gudik: 👍
 * smalik 🐜 ↔ gretik 🐘
 * tik: 💭
 * nö! ↔ si!
 * sio ↔ no
 * sagatik: 🧠
 * sag: 🗣

|1

title: Glidis, o Jonathan!/Kapit 1


text:
User:Sunshinealbi

Ambitious

Life

Believable

Active

title: User:Sunshinealbi


text:
Glidis, o Jonathan!/Kapit 2

Ninäd - Kapit 1 - Kapit 2 - Kapit 3

Del telid mayula (= Mayul, 2)

Nu man binom in tren. No binom in el München; binom in tren. Tävom. Tikom: „Nu tävob de el München lü el Wien. Binos täv gudik. Löfob tävis.”

Tikom dö el München. Tikom: „Nu binob in tren, ab ädelo äbinob in el München. E nu bepenob pämi in tren, ab ädelo äbepenob pämi in el München. E nu tikob in tren, ab ädelo ätikob in el München. Ädelo ätikob dö el München in el München, e nu tikob dö el Wien in tren. Nu binob in tren, no binob in el Wien. Ab tikob e penob dö el Wien.”

Man tikom-li nu in el München? Nö! nu no tikom in el München. Tikom in tren. Ädelo ätikom in el München. Sagom: „Glidö! o tren!”

Man binom in tren, e tävom lü (ini) zif. Zif at no binon el München; el München binon zif ädelik. Zif at binon el Wien; el Wien binon zif adelik.

Man tikom dö els München e Wien. Tikom: „El München äbinon zif ädelik, ed el München äbinon gudik. Nu binos adel, e binob in tren; tren binon gudik. El Wien obinon-li gudik?”

Man tikom dö el München: el München äbinon zif ädelik. Tikom in tren: binom in tren adelo. E tikom dö el Wien: el Wien obinon zif odelik.

E tikom: „El München äbinon gretik. Tren binon gretik. Va el Wien obinon-li gretik?”

E tikom: „In el München äpenob in päm. In tren penob in päm. Openob-li in päm in el Wien? Si! odelo in el Wien openob in päm. Löfob pämis.” Man tikom mödiko (tikom mödiko = tikom ed ai tikom, tikom e laitikom), e penom mödiko. Sio binom man sagatik. Mans sagatik penoms mödiko e tikoms mödiko. Binom el Jonathan; el Jonathan binom man sagatik.

Tikom, e penom: „Tren... binon gudik, ab bäldik. No binon nulik; binon bäldik. Trens in el München binons-li bäldiks? Si! trens ela München binons bäldiks. Ab trens ela München binons gudiks, e löfob trenis ela München. Ädelo älöfob treni in el München, ed adelo löfob treni nuik, ed odelo olöfob treni ela Wien. Löfob trenis!”

El Jonathan penom: „El München binon zif gudik ä zif bäldik, ed el Wien binon zif gudik ä zif bäldik. El München ed el Wien no binons nuliks, ab binons gudiks. El München ed el Wien binons zifs bäldik, ab gudiks. Zifs at no binons nuliks, ab binons gudiks. Löfob zifis!”

El Jonathan tikom, das del telid täva binon gudik. Sagom: „Adelo äbinos del telid gudik täva. Löfob tävis!”

ä-
👇⌛ - 🙋🏻♂💭 = tikob

👈⌛ - 🙋🏻♂💭 = ätikob

👇📆 = delo

👈📆 = ädelo

o-
👇⌛ - 🙋🏻♂💭 = tikob

⌛👉 - 🙋🏻♂💭 = otikob

👇📆 = delo

📆 👉 = odelo

Zifi e lü zif
Man logom zifi. 🏙 👀

Man tävom lü zif. ➡ 🏙

-on, -os
🏙 = zif binon gudik

📅 = del binon gudik

Täv at binon gudik.

Binos täv gudik.

de… lü…

 * De el München lü el Vienna:
 * München → Vienna
 * De el Vienna lü el München:
 * München ← Vienna

Vödastok

 * Löf: ❤
 * Täv: 🧳🧭🗺

|2

title: Glidis, o Jonathan!/Kapit 2


text:
Themes in Literature/Isolation and Community/Dream House as Choose your Own Adventure

Text
Carmen Maria Machado’s chapter “Dream House as Choose Your Own Adventure” from her novel In The Dream House read by Zoë Winters as Act Two: You Can’t Go Your Own Way of episode 703--“Stuck!” of the radio program This American Life.

Analysis
I was only eleven years old when I arrived in the United States from the Dominican Republic to live with one of my mother's sisters. I lived with my aunt and a family of five for five years, during which she physically and mentally abused me. She always put me down in front of all her other kids, and I was given chores while others were outside enjoying the weather. I felt very isolated and trapped. I was a minor and therefore not able to do anything until my mom came from my home country, and none of my family members outside of her household wanted to help because they did not believe that she would do such things. My aunt’s physical, emotional and mental violence created a monster in me; what she did hurt me so deeply that it still haunts me and will not let me leave in peace. Listening to Machado's chapter “Choose Your Own Adventure” from her memoir In The Dream House resonated with my own pain, uncertainty and isolation. In this chapter, Machado portrays domestic abuse as imprisonment.

Machado calls her memoir In The Dream House to show the transformation of the cabin she shared with her ex-girlfriend from the home of her dreams to a house of nightmares. Noting Machado’s fragmentation of its narrative through the use of “short chapters and frequent shifts between genres,” Katherine Connel compares the novel to a “haunted structure” where the reader becomes disoriented like a character in a horror film. Thus the irony of the book’s title: living in a dream house should mean living in a house where you are loved, at peace, and, most importantly, happy; that was not the case for Machado. The particular chapter analyzed here, “Dream House as Choose Your Own Adventure,” introduces the abusive relationship as a rough awakening from dreaming:

 * Page 1, you wake up, and the air is milky and bright. The room glows with a kind of effervescent contentment, despite the boxes, and clothes, and dishes. You think to yourself, this is the kind of morning you could get used to.

 * When you turn over, she is staring at you. The luminous innocence of the light curdles in your stomach. You don’t remember ever going from awake to afraid so quickly.

The most obvious way that this chapter illustrates the toxic cycle that entraps victims of domestic violence is its structure. The term "Choose Your Own Adventure” is another name for a gamebook, that is, “a work of printed fiction that allows the reader to participate in the story by making choices. The narrative branches along various paths, typically through the use of numbered paragraphs or pages. Each narrative typically does not follow paragraphs in a linear or ordered fashion." For example, the beginning of this chapter gives the protagonist a series of possible reactions to the annoyed girlfriend:

 * “You were moving all night,” [the girlfriend] says. “Your arms and elbows touched me. You kept me awake.” If you apologize profusely, go to page 2. If you tell her to wake you up next time your elbows touch her in your sleep, go to page 3. If you tell her to calm down, go to page 5.

Normally, the choices given in a gamebook narrative are positive. Not so in this chapter, whose narrative loops, as David Schwartz explains, tell the real story: “make a certain choice, and you find yourself reading the same page later. This is trauma. Recurrence. Multiplicity here allows Machado to showcase abuse’s chilling singularity. This is trauma. Recurrence." Because the protagonist’s attempts to make a decision make her end where she began over and over, choices in this chapter illustrate a victim’s lack of control. They also highlight how in an abusive situation there is no way to pacify the abuser:

 * “You are such a fucking cunt,” [the girlfriend] says. “You never take responsibility for anything.” “Well, all you have to do is wake me up,” you say, a kind of incoherent desperation zipping through your skull. “That's it. Wake me up and tell me to move or sleep on the couch, and I will do it. I swear to you.” “Fuck you,” she says, and gets out of bed. You follow her to the kitchen. Go to page 7.

Even if the victim apologizes or tries to find a solution to the problem she still gets mistreated. There is no way out.

Machado’s use of the setting intensifies the reader's sense of imprisonment. Throughout the chapter, the protagonist moves from the bedroom to the kitchen and back to the bedroom over and over. In the kitchen she is cooking and cleaning just like a maid for her abuser,

 * Page 7. Breakfast. You scramble some eggs, make some toast. [The girlfriend] eats mechanically and leaves the plate on the table. “Clean that up,” she says, as she goes to the bedroom to get dressed.

And in the bedroom she is her sex slave:

 * Page 10. That night, she fucks you as you lie there mutely, praying for it to be over, praying she won’t notice you're gone. You have voided your body so many times by now that it is a force of habit, reflexive as a sigh.

After faking an orgasm, the protagonist falls asleep and sometimes dreams of a better day (“It's going to be all right”), only to wake up to have her dream transform into the hurtful bedroom to kitchen to bedroom cycle again.

Machado eventually escaped her controlling girlfriend and is happily married. I am a mother now, and my daughter has helped me in all kinds of ways to move forward and forget the past because I need to be strong for her. Still, books such as In the Dream House are important because they remind us that domestic violence is present in all types of relationships. After listening to the “Choose Your Adventure” chapter, I felt like I had just experienced something completely new, and yet its story was my story too.

Other works by Machado

 * Her Body and Other Parties-  Eight inventive, challenging, deeply moving and often troubling short stories that explore the harsh realities that women navigate in everyday life and how these take their toll on the body, the mind, and the spirit. The collection includes Machado's earlier novella Especially Heinous: 272 Views of Law & Order SVU.
 * The Low, Low Woods-A graphic novel with artwork by Dani. The story of two teenagers who seek the reasons for their memory gap and uncover the dark secret of their hometown.

Books like In The Dream House
Psychological thrillers Violence against women Feminist responses to systemic oppression
 * The Haunting of Hill House by Shirley Jackson -  The story of how four individuals react to strange, unexplained events while exploring an abandoned old mansion. The novel has been adopted for film twice as The Haunting, though only the 1963 version is faithful to the book. A copy of the book is available to borrow at the Internet Archive with a free library membership.
 * The Bird's Nest by Shirley Jackson - A novel following a young woman who suffers from multiple personality disorder as a consequence of trauma. A copy of the book is available to borrow at the Internet Archive with a free library membership.
 * Speak by Laurie Halse Anderson- A young adult novel that follows how a high school freshman negotiates the trauma caused by sexual assault. The book was adapted to film in 2003. A graphic novel of the book illustrated by Emily Carrol was published in 2018.
 * How to Suppress Women's Writing by Joanna Russ- Explains how women are prevented from producing written works and not given credit when such works are produced. A copy of the book is available at the Internet Archive collection on Anarchism and Radical Feminism.

Resources on violence against women

 * National Domestic Violence Hotline

GET HELP AT https://www.thehotline.org

 or 800-799-SAFE (800-799-7233)

 * If you are in a situation where you feel trapped or experiencing domestic violence, here is a site with resources to help you.

 * On this website there are instructions on how to get help, plan for safety and get involved to help others.

 * You can live chat with a professional that can help you and everything is anonymous. You can call and text its 24/7 hotline to help those in need.

 * Resources by state on violence against women. A list of organizations by state from the U.S. Department of Health and Human Services, Office on Women's Health.

Long lasting effects of persons who stay in intimate abusive relationships
Domestic violence, also known as intimate partner violence, is a serious issue that many face daily. Even after the violence has ended, the mental and emotional impact of the experience remain. Such abuse can severely affect individuals who experience it, impacting their physical and mental health. Research indicates that more women than men experience intimate partner violence each year. Victims like Machado may feel confusion, fear, powerlessness, shame, guilt, and anxiety.

Have you ever heard of battered woman syndrome? According to search, battered woman syndrome (BWS) is a psychological trauma that results from ongoing physical, physiological and/ or sexual abuse typically at the hands of an intimate partner. Besides that, this syndrome can also result in the development of a “survival personality,” in which the person acts out of fear and attempts to avoid further harm. This takes us back to when the protagonist in Dreamhouse says that “she forgot that leaving is an option”, it reflects a moment where she grapples with the idea of leaving her very own abusive relationship. After feeling isolated she finally wanted to leave, perhaps due to fear.

The impact on self-worth and self-esteem of persons being abused
In the context of intimate abusive relationships, individuals including Carmen Machado often experience a profound erosion of self-worth and self-esteem. The repeated emotional and verbal abuse can make victims feel bad about themselves and make them internalize negative beliefs about themselves. The continuous harsh treatment leaves the victim feeling like they are not good enough, leading to feelings of shame and unworthiness. Staying in such relationships may stem from a distorted perception of self-value, where the victims like Machado may believe they deserve the mistreatment or that it is the best they can hope for. Over time, this can create a cycle of self-doubt. Breaking free from these relationships and rebuilding self-worth often requires support, therapy, and a gradual rediscovery of one's strengths and value as an individual. The journey toward healing involves challenging and reframing the negative beliefs during the abusive relationship. Experiencing abuse is extremely devastating and can significantly destroy a person’s self-worth and self- esteem. Research shows that abusers often isolate the victim, cutting them off from friends and family. This isolation worsens the person's self-esteem as they feel disconnected from the outside world. Without positive interactions, the negative beliefs imposed by the abuser may stay with the victim. Consequently, the person's self-worth gets tied to the abusive relationship, making it hard for them to leave due to fear of loneliness or a belief that they will not find acceptance elsewhere.

The impact of domestic violence on women’s self-esteem and self-worth is so deep, it can leave lasting emotional scars and hinder a woman’s ability to rebuild her life after leaving an abusive relationship. Recognizing and addressing the effects of domestic violence on self-esteem and self-worth is crucial in supporting survivors on their journey towards healing and reclaiming their sense of self

And one quote by Beverly Engel says, "With emotional abuse, the insults, insinuations, criticism, and accusations slowly eat away at the victim’s self-esteem until he or she is incapable of judging a situation realistically. He or she may begin to believe that there is something wrong with them or even fear they are losing their mind. They have become so beaten down that they blame themselves for the abuse.”

Self Esteem Affirmations
Here is a list of daily affirmations a victim of abuse can repeat daily. These affirmations are a way to slowly rebuild your self-worth.

Word Search Activity
A little word search activity for you to try! :) Rebuild                         Deserve                            Boundaries

Self-Worth                       Happiness                            Respect

Healing                            Growth                                Love

The link to the word search solution:

https://1drv.ms/w/s!AvLA0U7rGLc0gki2UDunTDgponvp


text:
Literary Criticism/Schools of Criticism

Schools of literary criticism are particular approaches to literary criticism.

title: Literary Criticism/Schools of Criticism


text:
User:Addy135

Hello! This is the homepage of Addy135. I am a noun whose main idea of fun is contributing to the global knowledge of things and stuff.

title: User:Addy135


text:
User:Obl obl/monobook.css

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/* [2021-06-08 22:37 Tue] ..I've been wanting to do this for *years*... but -- with no actual investigation (i.e., "view-source"....), I had assumed that it would require editing the html using regular expressions. I think it's been the recent pretty-serious immersion into the fundamentals of CSS and HTML that primed the brain-activity (gotta comee up with/find a better, less "confessional", "self-effacing" term than "brain   activity"..) such that it could "occur to me" that the uniformity of the rendering of the "Retrieved    [uniformily-formatted date]." */ span[class="reference-accessdate"] { display: none; }

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title: User:Obl obl/monobook.css


text: Powhatan/Lesson 13

title: Powhatan/Lesson 13


text:
User:Mostafa.H.Mahmoud/sandbox

Text
"Night Call, Collect" is a short story by Ray Bradbury published in 1969 in the short story collection I Sing The Body Electric! This is an audio version of the story dramatized by BBC Radio 4 for its program Ray Bradbury’s Tales of The Bizarre.

Author biography
Ray Bradbury is one of the best-known 20th Century fantasy, horror, and science-fiction writers in the United States. He is famous for his novel Fahrenheit 451 and the short story collections The Martian Chronicles and The Illustrated Man.

Bradbury was born in Waukegan, a small town in Illinois, in 1920, and lived most of his life in Los Angeles, California, where he died in 2012. A writer with unlimited imagination, Bradbury was interested in science, especially in life in other planets, though he “challenged the limits of the science fiction itself” by adding fantastical notions and a lyrical tone to his stories, which “restored wonder to a genre that, without him, might have proven dull, indeed.” While he specialized in narratives, Bradbury also wrote drama, poetry, and even musical compositions. Several of his works have been translated to many languages around the world.

Summary
The story begins with an old man named Barton living alone on the planet Mars. He has been waiting fifty years for a rescue rocket to come to bring him back to the Earth. He is eighty when suddenly his phone rings at night. The caller is himself: a recording of his voice from when he developed a telephone system to keep himself company in his old age in case he was not rescued. However, these calls turn out to be annoying, and, in the end, deadly, as the recording manipulates Barton into exerting himself physically so that he dies of a heart attack.

Analysis
Title

Bradbury adds sinister tones to his story by titling it a “night call” and a “collect call.” The negative connotations of “night” (darkness, danger, and death) foreshadow what will be the consequences of the calls that the protagonist receives. The word “collect” adds a double metaphor: the call is “at the expense” of those who receives it and the call has “come to get” the protagonist. Together, the phrases are a fantastic description about the happening and the tone of the story: a man who is facing a call that is going to take his life.

A collect call is a type of phone call in which the caller requests that the receiver agrees to pay for the expense of the call. Since collect calls were operator-assisted until the 1970s in the United States, Bradbury is being ahead of his time by making the calls in the story operated only by technology. Because the calls are automatic, they impossible to avoid by simply saying “No, I do not want to answer that call” to a human intermediary. Here we get one of the many themes of Bradbury’s story: technology that moves faster than our imagination, and that could turn back on human beings anytime if it is not well controlled, as has already happened with many human inventions: dynamite was invented by Swedish chemist Alfred Nobel in the 1860s as a safely manageable explosive. But then was used for weapons; nuclear power was created as a source of power, then turned to be a source of environmental disasters; automobiles were created for fast transportation, but are estimated to be the eighth leading cause of death globally.

Characters

The story has two main characters: the protagonist, an old man named Barton, and the voice of his young self.

We meet Barton after many years of isolation in Mars. He is physically weak, tired, and very, very lonely. His conversations with the automated Barton are in a way examinations of his life, and he admits (to himself) that his life was waste even though he was a smart, motivated, intelligent engineer full of life. He sees his younger self as playful and energetic but also mindless, crazy, and selfish.

The voice of Barton’s young self was helpful, kind, and friendly in the beginning but in the end he was contemptuous of what Barton had become. He sees him as boring, weak, annoying, and hopeless, so he begins to make fun of him. For instance, when Barton coughs, the voice tells him that he getting old and sick, and that he is about to die. He eventually plots to get rid of Barton by creating a situation that will give him a heart attack.

The conflict between the two characters and how they see each other reflects a very common conflict between how the older and younger generations see and treat each other nowadays.

Bradbury chose to limit the characters to illustrate Barton’s isolation. There are no other people on Mars; even the young Barton is not real: he is the man’s own voice on tape. This limitation of the characters helps the reader feel Barton’s inner struggle. This is how a person in isolation feels.

Plot

Bradbury began the story in the middle when Barton started to receive the night calls in his old age, using flashbacks to remember what he did when he was young so the reader will be passionate about what happened and how Barton came to this point, and at the same time wonder what will happen next. At the same time, the flashback serve as memories to allow Old Barton to reflect on his life and to connect back to his present state and realize that all behavior has consequences. In this case, his acts have come to “collect” him. It’s the classical Frankenstein story of the creation killing the creator.

Setting

The story takes place on another planet, Mars, where Barton lived for fifty years waiting for a rocket from Earth to come to rescue him. The alien environment helped the author to make the reader feel how this man was isolated where there is no way to find a company and how this isolation made him feel that his life was a hopeless waste.

Connection to the present times
As a narrative of self-isolation and its consequences, Ray Bradbury’s short story "Night Call, Collect” is a significant tale to read during a time of crisis such as the coronavirus pandemic that began in 2019 and put most of the world in quarantine, some of us with our families and many with their own.  As of today, millions of people have been in forced isolation. How have these people meet their needs? Are old people and young people affected the same way?

Bradbury’s story helps us see how age makes a difference by illustrating the conflict between the young and the old generations; between their views of the world; how they see each other; and it connects well to how these two groups nowadays react to the pandemic. In the pandemic, young people are at low risk of being infected and old people are in more danger. As a result, young people do not care that much about what the consequences of infection may be for the older generation but they only want to enjoy their lives. Many are not sticking with the quarantine. That makes old people in the same family house at high risk to get infected. Not only that, but the more people are also out of the quarantine the more the chain of the virus will be continuing. While it is normal for everybody in the community, old or young, to want to meet their needs, we should not let our needs harm other people. A successful community is nothing more than everybody should believe that we all are connecting and affect each other. A young person will be an old one day, and the old person was before a young one.

The pandemic also was the reason behind developing Internet-based alternatives like shopping online, social media, and all the online entertainment to help people on meeting their needs while they are isolated. People can easily order anything they need on the Web and talk to anybody virtually. Will these alternatives be continued after the pandemic and make some people adapt to being in isolation? And how these people will feel after fifty years? This is a second connection between the story and the situation created by this public health emergency. The story could be read as an early alert to open our minds about the consequences of being isolated either by force or by choice. We can see how Barton was stimulated in the beginning by being alone on another planet, which then turned into worry about his isolation and then to a loss of hope.

Some people think that there are many advantages in being isolated. I understand that in some communities being involved in the community may be a reason for suffering more. But that may happen in a community with many conflicts where everybody is involved in others' business. But if everybody who has a different point of view got isolated, we later could have a weak community where bad habits spread everywhere because other points of view have disappeared because they stayed isolated. I think a diverse community with respect for each other where everybody puts the benefit of the community first is what we should all work for instead of taking ourselves to the side and being in isolation.

Discussion questions

 * Do people isolate themselves because they feel depressed, or do they feel depressed because of being isolated and lonely?

 * What are the effects of being in isolation? What could the community do to minimize the bad effects of being in isolation?

 * Does our home entertainment and online shopping help people adapt to isolation and being away from the community? How is this situation played in Bradbury’s story?

 * How do you see the conflict between the young old generations?

 * How do you see the future of our kids if the pandemic continues?

Recommended reading on isolation and community by Ray Bradbury
The Martian Chronicles, 1950. A collection of science-fiction short stories about the colonization of Mars that Bradbury later organized as chronicle of the United States’ exploration, settlement, abandonment, and resettlement of the Red Planet after nuclear war has destroyed civilization on Earth.

The Illustrated Man, 1951. A collection of science-fiction short stories connected by a frame narrative of a heavily tattooed carnival man whose tattoos become animated, each telling a new story.

Fahrenheit 451, 1953. One of Bradbury best narratives, this dystopian novel tells of a future society where books are considered dangerous and are burned by firemen. The story lets the reader feel the importance of books and will motivate them to read.

title: User:Mostafa.H.Mahmoud/sandbox


text:
Themes in Literature/Isolation and Community/Night Call Collect

Text
"Night Call, Collect" is a short story by Ray Bradbury published in 1969 in the short story collection I Sing The Body Electric! This analysis is based on an audio version of the story dramatized by BBC Radio 4 for its program Ray Bradbury’s Tales of The Bizarre.

Summary
The story begins with an old man named Barton living alone on the planet Mars. He has been waiting fifty years for a rescue rocket to come to bring him back to the Earth. He is eighty when suddenly his phone rings at night. The caller is himself: a recording of his voice from when he developed a telephone system to keep himself company in his old age in case he was not rescued. However, these calls turn out to be annoying, and, in the end, deadly, as the recording manipulates Barton into exerting himself physically so that he dies of a heart attack.

Analysis

Bradbury adds sinister tones to his story by titling it a “night call” and a “collect call”. The negative connotations of “night” (darkness, danger, and death) foreshadow what will be the consequences of the calls that the protagonist receives. The word “collect” adds a double metaphor: the call is “at the expense” of those who receives it and the call has “come to get” the protagonist. Together, the phrases are a fantastic description about the happening and the tone of the story: a man who is facing a call that is going to take his life.

A collect call is a type of phone call in which the caller requests that the receiver agrees to pay for the expense of the call. Since collect calls were operator-assisted until the 1970s in the United States, Bradbury is being ahead of his time by making the calls in the story operated only by technology. Because the calls are automatic, they are impossible to avoid by simply saying “No, I do not want to answer that call” to a human intermediary. Here we get one of the many themes of Bradbury’s story: technology that moves faster than our imagination, and that could turn back on human beings anytime if it is not well controlled, as has already happened with many human inventions: dynamite was invented by Swedish chemist Alfred Nobel in the 1860s as a safely manageable explosive. But then it was used for weapons; nuclear power was created as a source of power, then turned to be a source of environmental disasters; automobiles were created for fast transportation, but are estimated to be the eighth leading cause of death globally.

Characters
The story has two main characters: the protagonist, an old man named Barton, and the voice of his young self.

We meet Barton after many years of isolation in Mars. He is physically weak, tired, and very, very lonely. His conversations with the automated Barton are in a way examinations of his life, and he admits (to himself) that his life was wasted even though he was a smart, motivated, intelligent engineer full of life. He sees his younger self as playful and energetic but also mindless, crazy, and selfish.

The voice of Barton’s young self was helpful, kind, and friendly in the beginning but in the end he becomes contemptuous of what Barton had become. He sees him as boring, weak, annoying, and hopeless, so he begins to make fun of him. For instance, when Barton coughs, the voice tells him that he getting old and sick, and that he is about to die. He eventually plots to get rid of Barton by creating a situation that will give him a heart attack.

The conflict between the two characters and how they see each other reflects a very common conflict between how the older and younger generations see and treat each other.

Bradbury chose to limit the characters to illustrate Barton’s isolation. There are no other people on Mars; even the young Barton is not real: he is the man’s own voice on tape. This limitation of the characters helps the reader feel Barton’s inner struggle. This is how a person in isolation feels.

Setting
The story takes place on another planet, Mars, where Barton has lived for fifty years waiting for a rocket from Earth to come to rescue him. The alien environment helped the author to make the reader feel how this man was isolated where there is no way to find a company and how this isolation made him feel that his life was a hopeless waste.

Plot
Bradbury began the story in the middle when Barton started to receive the night calls in his old age, using flashbacks to remember what he did when he was young so the reader will be curious about what happened and how Barton came to this point, and at the same time wonder what will happen next. At the same time, the flashback serve as memories to allow Old Barton to reflect on his life and to connect back to his present state and realize that all behavior has consequences. In this case, his acts have come to “collect” him. It’s the classic Frankenstein story of the creation killing the creator.

Connection to the COVID-19 pandemic

As a narrative of self-isolation and its consequences, Ray Bradbury’s short story "Night Call, Collect” is a significant tale to read during a time of crisis such as the coronavirus pandemic that began in 2019 and put most of the world in quarantine, some of us with our families and many with their own.  As of today, millions of people have been in forced isolation. How have these people meet their needs? Are old people and young people affected the same way?

Bradbury’s story helps us see how age makes a difference by illustrating the conflict between the young and the old generations; between their views of the world; how they see each other; and it connects well to how these two groups nowadays react to the pandemic. In the pandemic, young people are at low risk of being infected and old people are in more danger. As a result, young people do not care that much about what the consequences of infection may be for the older generation but they only want to enjoy their lives. Many are not sticking with the quarantine. That makes old people in the same family house at high risk to get infected. Not only that, but the more people are also out of the quarantine the more the chain of the virus will be continuing. While it is normal for everybody in the community, old or young, to want to meet their needs, we should not let our needs harm other people. A successful community is nothing more than everybody should believe that we all are connecting and affect each other. A young person will be an old one day, and the old person was before a young one.

The pandemic also was the reason behind developing Internet-based alternatives like shopping online, social media, and all the online entertainment to help people on meeting their needs while they are isolated. People can easily order anything they need on the Web and talk to anybody virtually. Will these alternatives be continued after the pandemic and make some people adapt to being in isolation? And how these people will feel after fifty years? This is a second connection between the story and the situation created by this public health emergency. The story could be read as an early alert to open our minds about the consequences of being isolated either by force or by choice. We can see how Barton was stimulated in the beginning by being alone on another planet, which then turned into worry about his isolation and then to a loss of hope.

Some people think that there are many advantages in being isolated. I understand that in some communities being involved in the community may be a reason for suffering more. But that may happen in a community with many conflicts where everybody is involved in others' business. But if everybody who has a different point of view got isolated, we later could have a weak community where bad habits spread everywhere because other points of view have disappeared because they stayed isolated. I think a diverse community with respect for each other where everybody puts the benefit of the community first is what we should all work for instead of taking ourselves to the side and being in isolation.

Discussion questions

 * Do people isolate themselves because they feel depressed, or do they feel depressed because of being isolated and lonely?

 * What are the effects of being in isolation? What could the community do to minimize the bad effects of being in isolation?

 * Does our home entertainment and online shopping help people adapt to isolation and being away from the community? How is this situation played in Bradbury’s story?

 * How do you see the conflict between the young old generations?

 * How do you see the future of our kids if the pandemic continues?

Recommended reading on isolation and community by Ray Bradbury

 * The Martian Chronicles, 1950.  A collection of science-fiction short stories about the colonization of Mars that Bradbury later organized as chronicle of the United States’ exploration, settlement, abandonment, and resettlement of the Red Planet after nuclear war has destroyed civilization on Earth.
 * The Illustrated Man, 1951. A collection of science-fiction short stories connected by a frame narrative of a heavily tattooed carnival man whose tattoos become animated, each telling a new story.
 * Fahrenheit 451, 1953. One of Bradbury best narratives, this dystopian novel tells of a future society where books are considered dangerous and are burned by firemen. The story lets the reader feel the importance of books and will motivate them to read.


text:
User:Steady Ayuen

Steady Ayuen Media "unifying the societies"

title: User:Steady Ayuen


text:
Talk:The Geology of Indonesia/Sulawesi

Southest
Hi it says Southest. Is this a typo for Southeast or Southwest? WereSpielChequers (discuss • contribs) 15:57, 14 June 2021 (UTC)

title: Talk:The Geology of Indonesia/Sulawesi


text:
The Legend of Zelda: Link's Awakening (2019 video game)

This is a strategy guide for the 2019 remake of the Game Boy classic, The Legend of Zelda: Link's Awakening.

A separate guide for the original Game Boy and Game Boy Color releases can be found in the Wikibook for The Legend of Zelda: Link's Awakening.

Main Game

 * /Getting Started/
 * /Wake Up!/
 * /Exploring Mabe Village/
 * /Hitting the Beach/
 * /Toadstool Trek/
 * /Tail Cave Exploration/
 * /Walk the Dog/
 * /Bottle Grotto Exploration/
 * /Storming the Castle/
 * /Key Cavern Exploration/
 * /Dream Shrine/
 * /Ancient Ruins Exploration/
 * /Exploring Animal Village/
 * /Journey with Marin/

Gameplay

 * /Controls/
 * /Inventory/
 * /Pieces of Heart/
 * /Secret Seashells/
 * Stand locations
 * /Trendy Game Shop/
 * /Town Tool Shop/
 * /Fishing Pond/
 * /Dampé/
 * /Trading Sequence/

Story

 * /Characters/

Meta

 * /Challenges/
 * /Easter Eggs/
 * /About/


text: Category:Book:The Legend of Zelda: Link's Awakening (2019 video game)


text:
The Legend of Zelda: Link's Awakening (2019 video game)/Inventory

Standard Items
These can be found in the grid of circles on the right of the screen. These items can be bound to face buttons.
 * Magic Powder - Consumable item which can be used in a variety of ways.
 * Bombs
 * Shovel
 * Ocarina - The Ocarina can be used with three learnable songs.
 * Ballad of the Wind Fish
 * Manbo's Mambo
 * Frog's Song of Soul
 * Hookshot
 * Bow
 * Magic Rod - Casts a magical attack at range. Unlimited use.
 * Boomerang
 * Bottles

Roc's Feather
Allows Link to jump. Handy for passing over obstacles and pits. Allows Link to grab flying items.

The Roc was a legendary bird in the mythology of real life cultures, making this name fitting for an item which empowers Link to jump.

Equipment and Passive Effect Items
These can be found on the leftmost panel of the screen. These items provide some gameplay benefit, but do not require to be actively bound to be used.
 * Swords - You can only have one sword at a time, your most powerful.
 * Sword - The standard sword you find at the beach. Has Link's name engraved.
 * Koholint Sword - More powerful sword
 * Shields - You can only have one shield at a time, your most powerful.
 * Standard Shield - The Shield given to you at the start of the game or purchased at shops. Does not reflect, and can be eaten.
 * Mirror Shield - Reflects attacks at enemies.
 * Powerful Bracelet
 * Pegasus Boots - Allows Link to dash
 * Flippers - Allows Link to swim.
 * Magnifying Lens
 * Secret Medicine - Automatically revives Link on defeat. Consumed when used.
 * Tunics - You can only have one tunic at a time, your most powerful.
 * Green Tunic - Provides no defensive bonus. The default clothes.
 * Blue Tunic - Provides a defensive bonus.

Instruments
These can be found in the upper center portion of the screen, and signify progress in the story. Aside from being used in cutscenes, they have no general gameplay use.
 * Full Moon Cello
 * Conch Horn
 * Sea Lily's Bell
 * Surf Harp
 * Wind Marimba
 * Coral Triangle
 * Organ of Evening Calm
 * Thunder Drum

Keys
These can be found in the lower center panel. These are used to unlock dungeons.
 * Tail Key - Unlocks the Tail Keyhole at the dungeon south of Mabe village.
 * Slime Key - Unlocks the Slime Keyhole at the dungeon north of Richard's villa.
 * Angler Key
 * Face Key
 * Bird Key

Right Panel

 * Secret Seashells - Used for a variety of upgrades.
 * Seashell Sensor - Used to help detect seashells.
 * Chamber Stones - Used to add chambers at Dampé's.

Rupees
Rupees are kept as a collective pool. Once you collect them, you don't have to worry about breaking denominations into smaller amounts.

Denominations
Rupees you find in the world come in a variety of denominations.
 * Green rupees are the standard, and are worth 1 rupee.
 * Blue rupees are worth 5 rupees.
 * Red rupees are worth 20 rupees.
 * Purple rupees are worth 50 rupees.
 * Silver rupees are worth 100 rupees.
 * Gold rupees are worth 300 rupees.

Earning Rupees
There are a variety of ways to earn rupees.
 * Cutting grass and shrubs is a reliable, if slow way, to earn rupees.
 * Playing Trendy Game after all special items have been collected. Perfect play results in gain of 70 rupees at a cost of 10 rupees each visit, for a per visit profit of 60 rupees.

Temporary Power Ups
These two items can be found in the field, and give a combat bonus for about 30 seconds.
 * Piece of Power - Triangle with a red core. Boosts attack.
 * Guardian Acorn - Acorn. Gives Link a blue aura. Boosts defense to halve incoming damage.

Dungeon Specific Items

 * Small Key - Used to open doors and locked blocks.
 * Nightmare Key - Used to access the boss (Nightmare) chamber.
 * Dungeon Map - Navigation aid.
 * Compass - Shows the location of chests on the map, and emits a chime. Also shows the location of the boss (Nightmare).
 * Stone Beak - Used to listen to hints in key places.


text:
The Legend of Zelda: Link's Awakening (2019 video game)/Getting Started

Technical Notes
This guide covers version 1.01 of the game, running on an original Nintendo Switch. This guide should also be applicable to the Switch Lite.

This game is available as either a physical cartridge, or as a digital download. Be aware that this game takes up 5.9 gigabytes of space as a download. This download can fit on either Internal System Storage, a MicroSD card, provided there is enough free space available. The game can't be split across both, so if you have 5 gigabytes of free space on internal storage, and 2 gigabyte of free space on your microSD card, you'll need to either shuffle or delete some data until you have 5.9 gigabytes of free space on a single storage medium.

Starting the Game
When you start the game, an animated cutscene will play. After this ends, you'll see the title screen, and you can press L and R at the same time to proceed.

You will see three save slots, as well as an autosave slot. Since the Switch supports multiple user profiles, these are more for keeping track of multiple playthroughs or game states then for supporting multiple users. A gamer with their own profile gets their own save slots! A single user can also create another profile to gain additional slots for more playthroughs. Choose one and proceed.

When you select an empty slot you will be asked to select a difficulty level. There are two options to pick from.
 * Normal - The default, and the one this guide assumes you will be playing on.
 * Hero - This increases the difficulty quite a bit. There are no heart drops, and Link takes twice as much damage as normal. A Hero mode save is decorated with a monster head next to your name.

Next you will be asked to enter your name. By default your name is Link. This guide will call the character Link, but you should name your character whatever you want!

Confirm the name, and jump into the game.


text:
User:AceDragonfly

Hello! I'm Ace, and I've been a (relatively minor) Wikibooks contributor since March 2020, and proud owner of the wikibook community's worst test kitchen. I mostly just add my notes to cookbook recipes that I've tried, as well as making some minor formatting changes, but I hope that I'll be able to add more original/significant content in the future.

If anyone wants to offer feedback on my contributions, I would love to hear what you have to say!

Most of my work has been done with the recpie for Cookbook:Grannie Gilbert's Sugar Cookies

title: User:AceDragonfly


text:
The Legend of Zelda: Link's Awakening (2019 video game)/Wake Up!

Controls
Link wakes up in a house and is filled in that he has washed ashore on Koholint Island by a girl named Marin. With that out of the way you are now able to control Link.

The basic controls are as follows. This guide will cover new techniques as they become unlocked through progression.

You'll notice three hearts on the top left of the screen. This is your health. Each heart is made of four parts. The weakest damaging attacks will take off one quarter of a heart. When you loose all your hearts, you loose the game.

Movement controls

 * You can use the left control stick to move around.
 * You can use the A button to talk to others. and to interact with some objects, like the stands in this room, or Tarin's dresser chest. When talking, press A to progress to the next line, and B to fast foreword. The writing in this game can be pretty charming, so it's recommended that you only skip for repeated lines and speedruns. If you missed some dialogue you would like to read, immediately press and hold ■ (Square) on your left Joycon or on the left side of the Pro Controller to record a video of your last 30 seconds of gameplay. This is also handy for recording bits of gameplay you are proud of.

Subscreen controls
Press + to access the Items Screen. Hit R to move to the System Screen, hit R again to go to the Map Screen, and then once again to return to the Items Screen. You can also use the L button to traverse these menus in the other direction.

You start the game with just your clothes, a Green Tunic. This provides no special defense bonuses, but can be replaced later.

You can manually save your game on the system screen, though autosave makes this mostly redundant. When you save your game you restart where you saved, except when you are in a dungeon, in which case you start at the dungeon entrance.

Map controls
You can now also use your map.
 * Press - to access the map. The map starts mostly blank, with faint sketches of what lies ahead. When you start exploring the world, the map fills in. You can press up on the right stick to zoom in, and you can pull down on the right stick to zoom out. You can press A on the map to place a marker where your cursor is, which you can move with your left control stick. You can have up to 30 points marked. The following symbols are available:
 * ♥ Heart
 * ♠ Spade
 * ♦ Diamond
 * ♣ Club
 * Circle
 * Triangle
 * ■ Square
 * Treasure Chest
 * Markers are not permanent. You can select them with the A button and alter which icon is used, or delete them outright, by navigating the cursor to the on screen X button (Not your physical X button!). Removing a marker recovers one of your 30 markers.
 * You can press X on the map to bring up the memories menu. This allows you to see recent plot events, as well as to see the total numbers of pieces of heart and secret seashells found.

Supported controllers
Here is a gallery of controllers supported by The Legend of Zelda: Link's Awakening.

Introductions
Talk to Marin, and she will tell you to go south to go to the beach where she found you. She also warns you to be cautious of new monsters which have appeared. Next to Marin is Tarin. Make sure to introduce yourself to him, because he is holding onto your shield, which he returns to you. Tarin will helpfully stop you if you try to leave without talking to him, but the rest of the game will have items more easily missed.

Your metal shield is handy and can be activated with either R or ZR. This is not only your only means of defense, it will be your only tool to deal with enemies until you find a real weapon. So long as you have a shield, it is always equipped and ready to use. With your shield drawn you completely negate many attacks from the front, but move at about 2/3 your standard speed.

Leave through the southern door, and get ready for Mabe Village.


text:
The Legend of Zelda: Link's Awakening (2019 video game)/Stands

This section covers the location of figure stands throughout the game.


text:
The Legend of Zelda: Link's Awakening (2019 video game)/Exploring Mabe Village

Mabe Village is a sleepy little hamlet by the sea and is the main settlement Link visits on his journey to Koholint Island. Many important activities and characters are located here, as well as the main shop on the island.

Mabe Village is returned to quite a bit, so it pays to familiarize yourself with it. You can explore without worry of danger, so long as you don't go further south then the two people playing catch.

Press - and see your map fill in for the area. This gives you extra detail on the fly. If you enter an area and forget to check the map, it will fill in later, even if Link is not currently there.

Villagers
Up north is an inaccessible dungeon entrance and the house of Papahl and Mamasha. Mamasha wants a Yoshi Doll from Trendy Game, but Link can't visit that shop yet. Papahl introduces himself, and notes he'll get lost in the hills later. Their four kids, Lattie, Suhni, Kidoh, and Joonya, offer helpful advice and can be found throughout the village.

See the page Town Tool Shop for more info on the store and it's shopkeeper. As Link currently has no rupees, just take a peak inside for now.

Near the center of the village is a statue of a Flying Rooster. Next to that is a house with a vigorous Bow Wow, who will bark and lunge at Link, but won't hurt him. Inside the house is Madam MeowMeow, and her pet ChowChow. The Annex houses CiaoCiao, who wants some accessories.

The Fishing Pond up north lets you fish for 10 rupees. The sign next to the pond records your records. You can't enter the building at the pond.

Outside the house to the south, Grandma Yahoo will greet you enthusiastically. Shy Old Man Ulria is inside, but can't speak to you directly due to a lack of his confidence. Go east to the Telephone booth. This introduces you to Old Man Ulria properly, who tells you to go visit the village library.

The Village Library has some books with notes on how to play the game. Check out the Atlas of Koholint Island for a complete zoomed out game map at any point of the game. There are two books you can't read right now, one which is out of reach, and one with print that is too small.


text:
The Legend of Zelda: Link's Awakening (2019 video game)/Hitting the Beach

South of the Village
From the Mabe Village Library, head south.

On the green fields leading to the beach, Link encounter his first enemy, the Octorock. They walk around, and turn while on patrol. If they spot Link, they will fire a projectile at him. They will also sometimes shoot off a shot in a random direction, regardless of Link's current position. If Link gets hit it takes half a heart off his total hearts. Fortunately Link can block their shots entirely with the standard shield, completely negating damage. Link can walk into them while holding his shield, which pushes the Octorock back just slightly. This maneuver also forces the Octorock to shoot a projectile, so keep Link's shield up immediately after bumping them. If Link runs into them without a shield, he will take half a heart of damage.

This area also includes some pits which Link can fall down. These also deal a half heart of damage if Link falls in.

Toronbo Shores
When Link reaches Toronbo Shores, he encounters sea urchins, which are a black spheres with eyes and white spikes. They don't move, which is actually a problem since they block the way. Touch them directly, and they will deal a half heart of damage. Instead, bump into them with a shield to push them aside without damage. Unlike Octorocks, this doesn't make Link recoil, so it's possible to just continuously push them until the sea urchin hits an obstacle. Unfortunately, pushing sea urchins into other enemies does not harm them, so Link is still without a weapon.

Almost as soon as you hit the sand a bladed spinning cylinder enemy emerged from the sands and pursues Link. His shield can defend against it, but if it touches him, it will deal a half heart of damage.

Go east on the beach and move aside either the northern two sea urchins or southern sea urchin to reach Link's sword. Before you can take it, you meet the owl. The owl tells Link that he must wake the Wind Fish to leave the island, and to go north to the Mysterious Forest. Put that on hold for now, and first grab Link's sword (It's possible to just walk away without taking it). As soon as Link takes the sword, the music changes and much more of the game opens up. Press the B button to swing the sword, and hold the B button to do a spin attack. You can now defeat enemies, instead of just pushing them around. You can also cut down grass and shrubs which once blocked your progress. If you've lost health on the way down, sea urchins may drop some easy hearts on normal difficulty, and can't really fight back.

Sale's House O' Bananas
Instead of going straight north for the forest, go east from where you got your sword, and then go north around the ridge to begin heading west. On the way Link will encounter a new crab enemy and a new monkey enemy.

The yellow and green crabs can be easily dodged and defeated with the sword, since their fast movement is horizontal, and they have to slow down to a crawl for vertical movement. If they touch Link, they do half a heart of damage.

The monkey can't be dealt with now since it's perched high in a tree. The monkey throws two bouncing coconuts at Link at a time, which deal half a heart of damage each time they hit Link. The way the coconuts bounce is peculiar, and can be hard to dodge. Sometimes the monkey will throw a bomb, which explodes very quickly. This does same half heart of damage as the coconuts, but is harder to dodge.

Cut down the shrubs near the monkey and enter the tropical shack to meet Sale, the friendly blue crocodile who wears a straw boater hat. Talk to him and he'll inform you that you are now in Sale's House O' Bananas and that he wants some Canned Food for his collection. He also mentions his artist brother. With this in mind leave for Mabe Village. Along the way, be sure to cut down some shrubs for some potential rupees.

Mabe Village Updates
Just before the forest, you'll notice a well below an overgrown ledge. The shrubs on the top usually yielding 3 hearts, which is handy for healing. Once the shrubs are cut down, jump off the ledge and into the well. The bottom of the well contains a piece of heart right next to where you fell! Simply walk into it to pick it up. Once you collect four, you gain one additional heart. Keep in mind you don't get any additional health until you collect all four. Collecting a piece of heart will also restore your health. Climb the stairs to return to Mabe Village.

A few new things are now accessible to you in the village. Now that you can earn rupees, the Town Tool Shop and the Fishing Pond become usable. The Trendy Game Shop can now be reached and used.

Marin is waiting by the Flying Rooster statue. She lets you know that Tarin has gone to the forest to harvest toadstools. She also lets you know that she likes to sing, and will perform the Ballad of the Wind Fish.


text:
Discrete Mathematics/Godel's incompleteness theorem

There's no mathematical system with consistent axiom.


text:
Talk:Mirad Grammar

This wikibook is amazing. Mirad has an interesting grammar and is fun to translate into. It is shame that there is no community or subreddit. Bmckeen (discuss • contribs) 21:27, 14 June 2021 (UTC)

 * Thanks for the positive comments. How would I go about starting a subreddit? Tyoyafud (discuss • contribs) Tyoyafud (discuss • contribs) 16:18, 8 November 2022 (UTC)
 * @Tyoyafud hello! This link should help you! I also suggest for you to create a course on Memrise. The comprehensible input hypothesis may work with a priori languages like Mirad? I was wondering if the language may spread with some fun way to learn it. If you know Portuguese, the translation of some of the Homem-Grilo comics (CC BY-SA 4.0) may be interesting. Sad that the Mirad Wiki may be lost soon... Erick Soares3 (discuss • contribs) 12:17, 1 May 2023 (UTC)

title: Talk:Mirad Grammar


text:
Themes in Literature/Isolation and Community/Let America Be America Again

Text
“Let America Be America Again" by Langston Hughes. This poem was written on 1935 and originally published in Esquire Magazine in 1936. It was revised in 1938 for a collection of Hughes' poems entitled A New Song, which was published by the International Workers Order, an organization with close links to the American Communist Party. The version analyzed here is from the Academy of American Poets website. Here is the poem as performed by Aldo Billingslea.

Analysis

The American Dream represents the liberty and freedom of Americans to pursue what makes them happy. However, this American Dream has not been achievable for everyone. In the 1935 poem “Let America Be America Again,” written when the country was beginning to recuperate from the Great Depression and while Jim Crow segregation was still an everyday fact, Hughes examines the state of the American Dream to expose the cruel reality of inequality and servitude that minorities, the working class, and the poor experience in the United States.

The poem begins with a speaker wishing that America were allowed to live to its ideals of liberty and equality so it can be “the dream the dreamers dreamed” (line 6), that is, “that great strong land of love/Where never kings connive nor tyrants scheme/That any man be crushed by one above” (7-9).

Meanwhile, a second intermixed voice suggests that he has never experienced the American Dream in his life: “America never was America to me” (5). The first speaker, curious, asks the second voice to identify itself, and it responds that it is “the poor white, fooled and pushed apart”(19), “the Negro bearing slavery’s scars”(20), “the red man driven from the land” (21), “the immigrant clutching…hope” (22) “the farmer, bondsman to the soil” (31), “the worker sold to the machine” (32), “the people, humble, hungry, mean” (34), and “the man who never got ahead,/The poorest worker bartered through the years”(37-38). The second voice represents all of those who have been oppressed, work for low wages, or serve others and they never see prosperity or appreciation. They find it difficult to obtain basic necessities such as food and home to feel safe and secure, even though some are hard workers. Their housing, their education, and their health are all second-class. They have been excluded from achieving the American Dream, which for them has been replaced by “the same old stupid plan/Of dog eat dog, of mighty crush the weak” (23-24).

At this point the poem focuses on those powerful people who oppress poor people and never give them an opportunity to demonstrate who they really are and how far they can go with their dreams. They are described as “leeches on the people's lives” (72) because they live off of the work and the hopes of others, giving little in return. They absorb the lifeblood of the workers, leaving them weak and vulnerable. Because minorities and the poor do not have appropriate representation that could protect them from those “blood suckers,” their opportunity to achieve the American Dream disappears.

The speaker ends the poem by swearing an oath: the oppressed of America will ensure that America will live up to its ideals. He knows his demand for action will cause those who are against him to hate him (“sure call me any ugly name you choose”), but he will never give up until the situation changes. He insists that “we must take back our land again” by fighting for the rights all of us should enjoy equally.

In conclusion, Hughes’ speaker demands the American Dream that he has never experienced. He demands that it come not only for him but also for the many working class families that have passed through situations like his. Even though he wrote this poem more than a century ago, we continue to see how inequality keeps low-class families in the same spot, which leads to the overall poverty in America. One of these inequalities comes from education disparities so that poor and minority students are not getting support to succeed in their lives.

Further Reading: Other Poems by Langston Hughes on Inequality in America

 * “I, Too" (1925). A poem reminiscent of Walt Whitman's celebration of America in poems such as "I hear America singing," but written from the point of view of a segregated speaker. Here is a version where Hughes gives context to the poem and reads it out loud, with a small modification.
 * “Song for a Dark Girl" (1927). A poem mourning the brutal lynching of a young black person in Dixieland. Here is the poem turned into song by folk musician Leyla McCalla.
 * “An Open Letter to the South" (1932). A plea from a black worker to the white workers of the South to overcome segregation and join forces against bosses and owners.
 * “Harlem" (1951). Sometimes referred to as "A Dream Deferred," the poem identifies the consequences to the community of Harlem of continually postponing the achievement of the American Dream.

“America never was America to me”: Educational Inequality in the United States
Having read and analyzed Langston Hughes' poem, I understand that the inequality we see today is not new in America; it has been happening for centuries. One major cause and effect of this inequality is the American educational system, where a child’s education, and therefore their chances at achieving the American Dream is determined by their socioeconomic status. In the United States, working class students—mostly Latino and black—perform poorly because their teachers are less prepared, their schools do not have the resources for extracurricular instruction, and their parents do not have the money or resources to help their children succeed.

Quality teachers are essential in the classroom because when teachers are prepared, they can guide students step by step in the process of learning, which increases their chances to develop strong habits of studying and succeed in school. However, in America, the less prepared teachers are mostly likely to be sent to poor neighborhoods where students are already struggling with their learning which decreases their chances to graduate from school. What is more, research demonstrates a disproportionate distribution of money, with schools with good performance receiving better resources. This problem affects the whole school system because teachers with low resources and salaries often quit their jobs, affecting students' performance, especially on standardized tests. Switching teachers in the classroom creates chaos for students because they become confused about the changes and fall behind. It is clear how the lack of experienced teachers and well-funded schools creates education inequality in America. The government could fix this problem by creating legislation that improves salaries and resources for all schools so that educators stay in one school and provide quality education, especially for minority students. Having effective teachers in the classroom would help students from working class families increase their test scores and achieve their goals.

Furthermore, students' progress is not dependent only on the hours of instruction but on extra support like after school programs or tutoring. Individualized instruction reinforces students’ knowledge and increases their ability to improve academically, so students will perform better on their standardized test scores which is one of the requirements to earn a scholarship and finish their career. Unfortunately, for Latinos and African American students, there is a limit to how many programs they can participate in to increase their grades. Students who have a low proficiency in reading English are mostly placed into special education classrooms or they stay in the same grade for the following year, which causes them to lose motivation in school. Moreover, state legislations and the government concluded that because low-income families are unable to pay tuition their education is negatively impacted, thus increasing the division between the rich and poor. The research also explains how residents select the amount of tax grants for each school when they elect a district board to collect taxes. This plan affects poor neighborhoods because schools with low performance will be receiving less funding from taxpayers. The school system must fix this problem because it is affecting students who have the potential to earn their college degree and be successful in life. Academic development requires a lot of time so students need additional resources like tutors to increase their knowledge and improve their grades.

Many working class Black and Latino parents do not have access to essential resources such as books, electronic devices, and access to the Internet which makes it impossible for their children to turn in their assignments on time. Family size also affects many minority students; because their families share apartments with other family members or strangers, students do not have enough space to study and complete their assignments. Having limited access to resources leads parents to look for alternative schools where their children could have enough free resources. In recent decades, charter schools have become a possible option for these parents because these schools provide food, books and academic support. It is disturbing to see how Latinos and African American students and their parents do not receive enough support and supplies essential to succeed in school. This makes academic disadvantages and inequality even worse.

Overall, minorities in America with low income, especially Latinos and African American students, do not achieve their goals because educators do have enough experience and resources to provide support for minorities, creating a gap in education. These obstacles cause students to leave schools without a degree. Parents also are not able to provide their children with essential tools like electronic devices which leaves their children behind on their assignments and causes poor performance. The government should address this issue by creating legislation that equally distributes funds for schools regardless of the students’ race or socioeconomic status.

Further Reading: Educational Inequality in the United States

 * Wikipedia contributors. "." Wikipedia, The Free Encyclopedia. A review of the history and main factors behind educational inequality.
 * Gregor Aisch, Amanda Cox, and Kevin Quealy. "You Draw It: How Family Income Predicts Children’s College Chances." The New York Times. May 28, 2015. An interactive chart that requires the reader to guess the chances of a child going to college based on her family's income level before it reveals the correct answer.
 * Motoko Rich, Amanda Cox, and Matthew Bloch. "Money, Race and Success: How Your School District Compares." The New York Times. April 29, 2016. A factual analysis of the learning gap based on race and income.
 * Keith Meatto. "Still Separate, Still Unequal: Teaching about School Segregation and Educational Inequality." May 2, 2019. The New York Times. Civics lesson plan containing activities to investigate school segregation and educational inequality.
 * Cory Turner. "New Studies Show The Pandemic Highlights Inequality In U.S. Education System." All Things Considered. National Public Radio. December 10, 2020. A podcast discussing how the COVID-19 pandemic has widened the learning gap, creating a "lost generation" of low-income kids, mostly from communities of color.
 * Clea Simon. "How COVID taught America about inequity in education."The Harvard Gazette. July 9, 2021. This article points to possible educational reform now that the COVID-19 pandemic has exacerbated the disparity in educational resources.


text: Template:FreedImg

title: Template:FreedImg


text: Template:FreedImg/span

title: Template:FreedImg/span


text:
Template:FreedImg/doc

 * Use this image container template to display CENTERED images.
 * Resizes the container dynamically and provides additional image related features.
 * When used to display an offset image, the surrounding text is broken into a new paragraph.

Usage

 * Always please use the shortcut to FreedImg, FI, rather than the long template name.

For true inline usage, please see FreedImg/span, FIS, instead.

Parameters

 * For the Image itself

 * mandatory : File name (without the "File:" prefix).
 * optional : Image alt-text, ie. for mouse-over text box or for use with a screenreader for the visually impaired.
 * optional : Override the default image link with an internal/external URL of your choosing (optional)
 * optional : Select individual image page within a multi-page file (PDF/DJVU etc.; optional)

 * when the (=user ) is present & set
 * Images generated by certain wikicode extensions (e.g. the default <math> User preference, <score>, etc.) may be entered in the named parameter instead.

 * Primary DIV container
 * : The width of the primary container, by percentage (present, variable, default 100%)
 * : The class for the primary container, (present, variable, default floatnone [a null undefined classname just for placeholder purposes])
 * : Any special overall styles to apply to primary container (default: no extra CSS).
 * : The alignment of the primary container (not present; must be added, options are "left" or "right"; otherwise remains centered).
 * : The margin(s) of the primary container to be cleared (not present; must be added, options are "left", "right" or "both").
 * , : Any special margins to be applied to the primary container (defaults appropriate for centered result).

 * Image element
 * : extra CSS classes to add (often rotations)
 * : extra CSS styling to add to the image (e.g. borders)
 * : request this size of image from the server, rather than computing a guess. This can help to reduce file size, for example, when you know the image will be used in a narrow container.

 * Image Caption
 * : The image caption (not present; must be added)
 * ,: Any special text style or alignment to apply to caption block (if present).
 * ,: Any special text-flow (e.g. hanging indent etc.) control to apply to caption (if present).

Mathematical Equation
N.B. This only works if the user's Preferences are set to the default (i.e. Preference/Appearance/Math is "Always render PNG". Experimental choice "MathJax" causes any formulæ to be rendered entirely in text, completely bypassing any effect FreedImg may have.)

Missing images
If an image doesn't exist yet, you can use  in the  parameter:

title: Template:FreedImg/doc


text:
Template:FreedImg/styles.css

.freedImg { max-width: 100%; text-align: center; margin-top: 0.40em !important; margin-right: auto; margin-bottom: 0.50em !important; margin-left: auto; /* avoid splitting image and caption across page breaks */ page-break-inside: avoid; break-inside: avoid; }

.freedImg img[src*="wikipedia"], .freedImg img[src*="wikisource"], .freedImg img[src*="score"], .freedImg img[src*="math"] { width: 100%; height: auto; }

.freedImg .imgCaption { display: block; font-size: 94%; line-height: normal; padding: 0.25em 1px 0.75px 1px; /* was padding-top: 0.75px; */ text-indent: 0; }

.wst-freedimg-missing { display: block; border: 1px solid grey; font-size: 83%; font-style: italic; }

/** * The following rules are for rotation testing only. */ .rotp90, .rot90 { transform: rotate(90deg); } .rot180 { transform: rotate(180deg); } .rotn90, .rot270 { transform: rotate(-90deg); } /* @end */

title: Template:FreedImg/styles.css


text:
Template:FreedImg/span/doc

 * Use this image container template to display INLINE OFFSET images.
 * Resizes the container dynamically and provides additional image related features.
 * When used to display an offset image, the surrounding text flows around the container.

Usage

 * Always please use the shortcut to FreedImg/span, FIS, rather than the long template name.

For true block element usage, please see FreedImg, FI, instead.

Parameters

 * For the Image itself
 * : The file name (without the "File:" prefix) (optional; if lacking, a caption-only block is created.)
 * : Image alt-text, ie. for mouse-over text box or for use with a screenreader for the visually impaired (optional)
 * : link redirect for image (default no redirect)
 * : Select individual image page within a multi-page file (PDF/DJVU etc.; optional); when ( =user ) is present & set
 * : request this size of image from the server, rather than computing a guess. This can help to reduce file size, for example, when you know the image will be used in a narrow container.

 * Images generated by certain wikicode extensions (e.g. the default <math> User preference, <score>, etc.) may be entered in the named parameter instead.

 * Primary DIV container
 * : The width of the primary container, by percentage (present, variable, default 100%)
 * : The class for the primary container, (present, variable, default floatnone [a null undefined classname just for placeholder purposes])
 * : Any special overall styles to apply to primary container (default: no extra CSS).
 * : The alignment of the primary container (not present; must be added, options are "left" or "right"; otherwise remains centered).
 * : The margin(s) of the primary container to be cleared (not present; must be added, options are "left", "right" or "both").
 * , : Any special margins to be applied to the primary container (defaults appropriate for centered result).

 * Image Caption
 * : The image caption (not present; must be added).
 * , : Any special text style or alignment to apply to caption block (if present).
 * ,, : Any special text-flow (e.g. margins, indent, hanging indent etc.) control to apply to caption (if present).

Example 1: Simple inline image
When used with default parameters, the image is inlined into the surrounding paragraph.

text beforetext after

text beforetext after

Example 2: Simple inline image, with caption
text beforetext after

text beforetext after

Example 3: Mathematical Equation
N.B. This only works if the user's Preferences are set to the default (i.e. Preference/Appearance/Math is "Always render PNG". Choice "MathJax" causes any formulæ to be rendered entirely in text, completely bypassing any effect FreedImg may have.)

text before text after

text before text after

Example 4: Floating centred image
This is a very common use of the template: to provide an image that "floats" in the centre of the page, but does not cause a hard paragraph break at the image location.

For this to work, must be set to "left" or "right", and the,  and  must sum to 100%, otherwise this template will not take up a full width, and some surrounding text may creep into the same line (as in example 1).

Plaintiff alleges that she participated in a group training program conducted by Lifespring in Philadelphia, Pennsylvania during April 1981. She contends that she was subjected to psychological manipulation resulting in psychological and emotional injuries. She contends that Lifespring, [FIS here!] under whose auspices the program was conducted, is liable to her essentially in tort. She further contends that Hanley is individually liable to her because he controlled the training offered by Lifespring. She contends that he was personally involved in the development and operation of the training program. Service of the complaint was made upon Hanley by registered mail. He states in an affidavit that he lacks any personal contact with Pennsylvania other than through his affiliation with Lifespring in his corporate capacity. Plaintiff argues that such contact is sufficient.

title: Template:FreedImg/span/doc


text:
Module:FreedImg

-- This is an module to implement FreedImg -- Argument to the functions are as described on Template:FI and Template:FIS. -- -- 2021-01-13:	Implementation copying original FI and FIS templates, but with --             added max-width handing to reduce image sizes for very large images -- 2021-01-16:	Removed complex HTML and reduce complexity -- 2021-01-21: Further reduce complexity of captions and allow captions to contain --             divs (e.g. centered text) -- 2021-06-03  Handle blank and missing images

local p = {} --p stands for package local getArgs = require('Module:Arguments').getArgs

-- this is a limit on the max default image size to avoid multi-MB full-size images -- being loaded. if the image is smaller than this, it is loaded at full resolution local max_image_size = 1000 -- this is a nominal "max" screen size used when computing the maximum size of an -- image with a width in percent. For example, on a 2048px screen, an image at -- 10% will be 204px at most, so there's no point loading a 1000px image. local max_screen_size = 2048

function arg_or_nil(args, name) if args[name] ~= nil and args[name] ~= "" then return args[name] end return nil end

-- add to a table if the variable is not nil or empty function add_if(t, key, var) if var ~= nil and var ~= "" then t[key] = var end end

-- append a CSS style to a table so we can use mw.html:css on it function add_style_to_table(t, s)	if s == nil or s == "" then return end for rule in string.gmatch(s, "([^;]+)") do   	local idx, _ idx, _ = string.find(rule, ":") if idx then t[string.sub(rule, 0, idx - 1)] = string.sub(rule, idx + 1) end end end

function construct_image_markup(img_name, args)

-- get the image info -- NOTE: we will use the file attribute, this is an expensive function local img_title = mw.title.makeTitle("File", img_name) if not img_title.file.exists then error("The specified image (" .. img_name .. ") does not exist") end

local img_width_px if arg_or_nil(args, "imgwidth") then -- the user told us what they want img_width_px = string.gsub(args['imgwidth'], "px", "") elseif arg_or_nil(args, "width") then -- if the width parameter is in px or %, use that to get the image as the -- image is at most the size of the container local arg_px_width = string.match(args["width"], '(%d+)px$') local arg_pc_width = string.match(args["width"], '(%d+)%%$') if arg_px_width then -- use what the parameter said img_width_px = arg_px_width elseif arg_pc_width then -- use a nominal huge screen and find the image size upper bound img_width_px = math.floor((max_screen_size * tonumber(arg_pc_width)) / 100) -- still limit to the max size as well img_width_px = math.min(max_image_size, img_width_px) end end if img_width_px == nil then -- use the default size, or the image size, whichever is smaller img_width_px = math.min(img_title.file["width"], max_image_size) end -- construct the image markup we will use local img_markup = "" return img_markup end

function construct_caption(parent, is_div, args) local tag = is_div and "div" or "span" local pstyle = {} add_if(pstyle, "text-align", args["talign"]) add_if(pstyle, "margin-right", args["tmright"]) add_if(pstyle, "margin-left", args["tmleft"]) add_if(pstyle, "text-indent", args["indent"]) add_style_to_table(pstyle, arg_or_nil(args, "tstyle")) local para = parent:tag(tag) para:css(pstyle):addClass("imgCaption"):wikitext(args["caption"])

return para end

function freedImg(is_div, args) local cats = {}

local img_markup -- construct the image markup we will use if args['type'] == "math" or args['type'] == "score" or args['type'] == "user" then -- math, score and user just place the markup directly img_markup = args["file"] elseif args.file == nil then error("The file parameter must be given (use \"missing\" if the image needs to be added later)") elseif args.file == "missing" then img_markup = mw.html.create("span") :addClass("wst-freedimg-missing") :wikitext('An image should appear at this position in the text.') img_markup = tostring(img_markup) table.insert(cats, "Pages with missing images") else img_markup = construct_image_markup(args["file"], args) end local outer_tag = is_div and "div" or "span" local caption_tag = is_div and "p" or "span"

local outer_div_class = {"freedImg"} if arg_or_nil(args, "cclass") then table.insert(outer_div_class, args["cclass"]) end

local outer_div_style = {} add_if(outer_div_style, "width", args["width"]) add_if(outer_div_style, "margin-right", args["margin-right"]) add_if(outer_div_style, "margin-left", args["margin-left"]) add_if(outer_div_style, "float", args["float"]) add_if(outer_div_style, "clear", args["clear"])

if not is_div then outer_div_style["display"] = "inline-block" end add_style_to_table(outer_div_style, args["cstyle"])

outer = mw.html.create(outer_tag) outer:addClass(table.concat(outer_div_class, " ")) :css(outer_div_style)

outer:wikitext(img_markup) -- add the caption, if there is one, to the outer div if arg_or_nil(args, 'caption') then construct_caption(outer, is_div, args) end outer = tostring(outer) for k, v in pairs(cats) do outer = outer .. ""	end

return outer

end -- function freedimg

--[=[ Construct a "block" FreedImg ]=] function p.freedImg(frame) local args = getArgs(frame) return freedImg(true, args) end

--[=[ Construct an "inline" FreedImg ]=] function p.freedImg_span(frame) local args = getArgs(frame) return freedImg(false, args) end

return p

title: Module:FreedImg


title: Template:Apa7thdoi


text:
Simi, Jonathan!

Chapters

 * Chapter 1 - Lâfadola 1
 * Chapter 2 - Lâfadola 2

title: Simi, Jonathan!


text:
Simi, Jonathan!/Lâfadola 1

Contents - Lâfadola 1

Dolala redôdo (dolala 1)
Lâa domîfado dosolfami solre sîdoredo. Domîfado lamire sîmilado. Domîfado domiremi sîdoredo.

Faremi lâa domîfado dosolfami solre sîdoredo? Si, dofa dosolfami solre sîdoredo.

Faremi lâa domîfado dosolfami solre... domîfado? Do, dofa do dosolfami solre domîfado. Dofa dosolfami solre sîdoredo.

Faremi lâa domîfado dosolfami solre fâsisoldo? Do, dofa do dosolfami solre fâsisoldo. Dofa dosolfami solre sîdoredo. Domîfado dosolfami solre sîdoredo.

Faremi lâa domîfado lamire sîmilado? Si, dofa lamire sîmilado.

Faremi sîmilado laremi lâa domîfado? Do, sîmilado do lamire domîfado. Sîmilado do lamire. Domîfado lamire. Domîfado lamire sîmilado.

Faremi sîdoredo domiremi lâa domîfado? Do, sîdoredo do domiremi domîfado. Sîdoredo do domiremi. Domîfado domiremi. Faremi domîfado domiremi sîdoredo? Si, domîfado domiremi sîdoredo.

Mimisoldo dosolfami lâa domîfado? Dofa dosolfami solre sîdoredo. Fado domîfado lamire? Dofa lamire sîmilado. Fado domîfado domiremi? Dofa domiremi sîdoredo. Dofa dosolfami solre sîdoredo, re dofa lamire sîmilado, re dofa domiremi sîdoredo.

Faremi lâa domîfado dosolfami solre sîmilado? Do, dofa lamire sîmilado. Faremi domîfado domiremi domîfado? Do, dofa do domiremi domîfado; dofa domiremi sîdoredo.

Lâa domîfado domifâla. Domîfado fala, re domîfado domisôlfa. Dofa solsimisol. Dofa solsimisol lasi sîdoredo. Dofa solsimisol: "Fado faremi sîdoredo? Faremi sîdoredo fala? Faremi sîdoredo domifâla?"

Faremi domîfado lamire sîdoredo? Do, dofa do lamire sîdoredo; sîdoredo domifâla. Dofa lamire sîmilado; sîmilado do domifâla.

Faremi sîmilado solsimisol lasi lâa domîfado? Do, sîmilado do solsimisol. Domîfado solsimisol. Dofa solsimisol lasi sîmilado, re sîdoredo.

Re dofa lamire solre sîmilado. Dofa lamire lasi sîdoredo. Dofa lamire: "Sîdoredo fala, re sîdoredo domifâla."

Dofa solsimisol: "Sîdoredo fala"; dofa solsimisol mire sîdoredo fala. Dofa solsimisol: "Sîdoredo domifâla"; dofa solsimisol mire sîdoredo domifâla. Dofa solsimisol lasi sîdoredo, re sîmilado.

Fado faremi sîmilado? Sîmilado faremi mimisoldo lâa domîfado lamire; dofa lamire solre sîmilado. Solre sîmilado, domîfado lamire lasi sîdoredo. Solre sîmilado, domîfado do lamire lasi fâsisoldo; domîfado dosolfami solre sîdoredo, do solre fâsisoldo. Dofa do solsimisol lasi fâsisoldo; dofa solsimisol lasi sîdoredo, la sîdoredo Soolsirêfâ (Munich).

Fado faremi sîdoredo? Fami faremi Soolsirêfâ. Mimisoldo Soolsirêfâ? Fami faremi mimisoldo lâa domîfado dosolfami. Mimisoldo domîfado? Dofa solre Soolsirêfâ.

Si, Soolsirêfâ sîdoredo domifâla, re sîdoredo fala. Lâa domîfado solsimisol mire Soolsirêfâ faremi sîdoredo fala, re dofa solsimisol mire fami faremi sîdoredo domifâla. Domîfado domisôlfa. Dofa domilado: "Simi, Soolsirêfâ!" Dofa faremi domîfado fala!

Lâa domîfado dosolfami re solsimisol: "Mimisoldo fâsisoldo?" Dofa domiremi... dofa domiremi fâsisoldo! Dofa solsimisol: "La fâsisoldo!" Solmimǐ dofa do solsimisol lasi sîmilado re do solsimisol lasi sîdoredo; dofa solsimisol lasi fâsisoldo!

faremi

 * faremi = ?
 * Lâa domîfado dosolfami solre sîdoredo
 * Faremi lâa domîfado dosolfami solre sîdoredo?

lárelafa (1, 2, 3, 4...)

 * redodo = 1
 * redôdo
 * remimi = 2
 * remîmi
 * refafa = 3
 * refâfa

 * Dolala 2019 faremi 2019.05.
 * Dolala redôdo faremi 2019.05.01.
 * Dolala remîmi faremi 2019.05.02.
 * Dolala refâfa faremi 2019.05.03.

lasi

 * Lâa domîfado solsimisol lasi Soolsirêfâ.
 * Lâa domîfado lamire lasi Soolsirêfâ.
 * Lâa domîfado lamire: "Dore domiremi fâsisoldo!" Dofa lamire lasi fâsisoldo.

Solrêla

 * fala: 👍
 * sîdoredo
 * faremi
 * faremi?
 * domifâla
 * solre
 * fami
 * domisôlfa
 * sîmilado
 * dofa
 * (lâa) domîfado
 * do ↔ si
 * solsimisol: 💭
 * lasi
 * mire
 * fado
 * simi
 * lamire
 * dosolfami
 * fâsisoldo
 * mimisoldo
 * redodo = 1
 * domiremi
 * si ↔ do

title: Simi, Jonathan!/Lâfadola 1


text:
Fortran/Why learn Fortran?

Fortran is a general purpose programming language mainly used by the scientific community. It is fast, portable and it has seamless handling of arrays and parallelism. It is one of the earliest high level programming languages, and many recognize the original versions which used punched cards to encode the programs. Its name is a contraction of FORmula TRANslation (old versions of the language are typically stylized as FORTRAN) and its creation marked the representation of mathematical expressions with more ease than lower level assembly language. It is still widely used today in numerical weather prediction, physical and chemical modelling, applied mathematics, and other high performance computing purposes. Fortran has a rich array of mathematical libraries and scientific codebases available. The newer standards continuously add modern functionality and are fully backward compatible.

This book is intended to help write code modern Fortran. Where appropriate the differences in usage between legacy versions and the modern standard will be highlighted as there is a significant code base written in older versions, especially FORTRAN 77.

When are other languages better?
Fortran is a very verbose, statically typed compiled language. It can take more time to write, compile and debug than other dynamically typed and interpreted languages. Therefore, many people have moved to languages (such as Python and Ruby) for productivity purposes.

title: Fortran/Why learn Fortran?


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