title: 2022 Bosnian general election

text: The assemblies of the 10 cantons of the Federation are also elected. The election is based on proportional representation with a threshold of three percent. The individual cantonal assemblies send members to the House of Peoples.


title: 2022 Bosnian general election

text: The individuals in this section were the subject of speculation about their possible candidacy, but publicly denied interest in running.


title: 2022 Bosnian general election

text: The elected members of the national Presidency were Denis Bećirović (Bosniak, SDP BiH), Željko Komšić (Croat, DF) and Željka Cvijanović (Serb, SNSD).


title: 2022 Bosnian general election

text: Following the release of the preliminary results in the Republika Srpska entity elections, opposition parties filed accusations of electoral fraud directly against the leading candidate Milorad Dodik, who they claimed had coordinated stuffing ballot boxes with thousands of illegal votes to put the Alliance of Independent Social Democrats ahead in the polls and that Jelena Trivić of the Party of Democratic Progress was the true winner of the Republika Srpska presidential election. As a result of the allegations, the Central Election Commission began a recount the ballots. When the Election Commission verified the preliminary results, they did not verify the Republika Srpska elections. However on 27 October, officials confirmed Dodik's victory. The commission noted that while there were irregularities, none were on a level that would have changed the outcome of the election.


title: Volition (company)

text: Deep Silver Volition, LLC (formerly Parallax Software Corporation and Volition, Inc.) is an American video game developer based in Champaign, Illinois. Mike Kulas and Matt Toschlog founded the company as Parallax Software in June 1993, developing "Descent" and "Descent II". By the time the sequel was completed, Toschlog had relocated to Ann Arbor, Michigan, with some employees to operate a satellite studio for Parallax. Kulas and Toschlog decided to split up the company, with Toschlog establishing Outrage Entertainment and Kulas staying with Parallax, which was renamed Volition in November 1996. With publisher Interplay Entertainment, Volition created "" and its sequel, "FreeSpace 2". The two companies parted ways during the development of "Summoner".


title: Volition (company)

text: Volition found a new publisher in THQ, which acquired the studio in August 2000 and released the game shortly thereafter. Under THQ, Volition created the "Red Faction" and "Saints Row" series, developing four entries in each series. During the development of "Saints Row IV", THQ filed for bankruptcy in December 2012. In the subsequent proceedings, Volition and the "Saints Row" intellectual property (IP) were sold to Koch Media and became part of the company's Deep Silver label. Meanwhile, Nordic Games acquired other THQ assets, including "Summoner" and "Red Faction". Volition reconnected with these IPs when Koch Media was acquired by Nordic Games' parent company (later known as Embracer Group) in February 2018. The studio developed two less successful games with 2017's "Agents of Mayhem" and the 2022 "Saints Row" reboot. In November 2022, following the poor critical performance of the reboot, Volition was transferred to Gearbox Entertainment, another company under Embracer Group.


title: Volition (company)

text: Parallax Software was founded on June 14, 1993, by Mike Kulas and Matt Toschlog. The company was incorporated under the name Parallax Software Corporation. Both founders were programmers who had previously worked together on "Car and Driver". This led them to consider launching their own game development company, knowing that, should they fail, they would have to return to working for other's companies. To reach a lower cost-of-living, Toschlog moved from Boston to Champaign, Illinois, where Kulas resided, and the two launched Parallax Software. Early on, they hired programmers John Slagel and Che-Yuan Wang, of which Wang also worked on level design. The team developed a rough concept for a game called "Inferno", which they pitched to Apogee Software, the primary publisher of id Software. Apogee began funding the game's development, though the funds did not suffice for the company over time.


title: Volition (company)

text: Because the team lacked an artist, Adam Pletcher was hired in January 1994. Shortly thereafter, Apogee dropped the project after it had been in development for seven months, though leaving Parallax with an already funded, functional prototype. Subsequently, while the studio was slowly running out of money, they produced a demo reel of the game and set it as a VHS tape to various publishers. Three companies—Accolade, Trimark Interactive and Interplay Productions (where it was championed by Rusty Buchert)—offered to publish the game, of which Parallax chose Interplay. Jasen Whiteside then became Parallax's eighth employee, working on level design while studying industrial design at school. With the studio lacking a quality assurance department, the game was tested by the entire team. As Interplay's funds had also dried up, Parallax refused to ask them for more, not wanting to show signs of weakness. Instead, Kulas and Toschlog invested their own money into the continued development. Funds provided by Apogee, Interplay and the two founders totaled to about . "Inferno", now titled "Descent", was released in March 1995 to widespread attention.


title: Volition (company)

text: By the time Parallax began development on another "Descent" game, the team had grown to about 14 people. Interplay wished for the studio to develop a "CD-enhanced" version of the game, which would include high-resolution textures, cutscenes and Red Book-quality audio, as well as several new levels. Interplay marketed the game as a new game, "Descent II", so they could make more profit than they would have from a simple derivate version of the same game, and could publish a new game under the same contract they had with Parallax. As a result, Parallax profited heavily from "Descent II" success.


title: Volition (company)

text: Although Toschlog had moved to Champaign from Boston, he did not want to stay in Champaign long-term. During the development of "Descent II", he and three designers moved to Ann Arbor, Michigan, to open a second office for Parallax. At the new office, Toschlog also hired two further programmers. After "Descent II" had shipped, the team came to the conclusion that working on the same game out of two distant offices had adverse effects on the team, where Toschlog and Kulas agreed to move the company to one office. However, they could not decide on where they should move the company, so they instead opted to split the company in half, a move they were able to pursue due to "Descent" success. Thus, half of Parallax' employees followed Toschlog to Michigan, where Toschlog formed Outrage Entertainment, while Kulas stayed with the main Parallax office in Champaign.


title: Volition (company)

text: As Kulas' company was to receive a new name, he asked the remaining team for ideas. When he found that he liked none of the proposals, he sat down in his living room, pulling books from a shelf and looking through dictionaries and reference books' glossaries for a possible name. In one such glossary, he found the word "", described as "an intense active will to accomplish something". As he drew a connection between this definition and the act of software development, he chose "Volition" to be the new company name. He pitched the name and its definition to the company's employees, asking them to create a suitable logo. Of the many entries submitted, the one that was chosen was designed by Whiteside and inspired by the logo of Wax Trax! Records, while Pletcher created a font to display the company name with. The logo has been in use since. Formally, Volition was founded in October 1996 with twelve members, and the split was announced on December 1, 1997, with both companies having been organized into new corporate entities (wherein Volition was Volition, Inc.) and wholly owned by their respective leads.


title: Volition (company)

text: Following the split, Volition and Outrage signed with Interplay for two further projects each. Their first project under the new name was "" (or simply "FreeSpace"), a game that was set to improve on the concepts of games like "" and "". During the development of "FreeSpace", the Volition team doubled in size, adding about five or six people to the studio. During this time many team members were allocated to training the new employees. Meanwhile, Kulas, as the sole manager of the company, had to divide his time between programming and managing the business; consequently, should any business matter come up, his portion of the programming work stood still. "FreeSpace" was the last Volition game Kulas would significantly do programming work on. Following the release of "FreeSpace", Volition began work on four projects—"FreeSpace 2", "Descent 4", "Tube Racer" and "Summoner". The first, "FreeSpace 2", was developed within a year. When the game's development had about three months to go, Interplay, who had recently become a public company, urged Volition to complete the game within a month. While the game was completed within the month, Interplay did not adjust their advertisement strategy. As a result, the game sold poorly and was only marginally profitable. "Tube Racers" was canceled about six to nine months in development.


title: Volition (company)

text: "Descent 4" was to be the fourth main entry in the "Descent" series (the third game, "Descent 3", was in development simultaneously at Outrage). As the "Descent 3" release date came closer, Interplay began having financial difficulties. When the game launched in June 1999, it also did not sell well. The two companies separated on Volition's suggestion. Interplay owned the publishing rights to the "Descent" franchise, and as a result Volition could not publish "Descent 4" with a different publisher. Instead, they reused much of the code and tools they had created for the game and used it to create "Red Faction".


title: Volition (company)

text: "Summoner", unlike other games by Parallax and Volition, was developed as a role-playing video game, a genre the development team had no experience with. The team were later provided with a development kit for the PlayStation 2, and were tasked with making "Summoner" a launch title for the console. Meanwhile, the four-game deal with Interplay was winding down, and Volition required a new publisher for "Summoner". On August 31, 2000, they were acquired by THQ, who also overtook the game's publishing duties. In exchange for the ownership of Volition, Volition received one million shares of THQ's common stock and THQ assumed about in net liabilities for Volition's operations. THQ also acquired Outrage in April 2002, though closed that studio by 2004. Following a troubled development cycle, "Summoner" eventually hit the intended release date in October 2000, but shipped in a flawed state that resulted from the technical discrepancies between personal computers and PlayStation 2, between which the studio had to port the game.


title: Volition (company)

text: After Volition had started to develop "Red Faction" out of what had been "Descent 4", many people on the team felt like the game was a "ground-pounder", a game they would work hard on just to get an unpleasant result. The game shifted from a space combat game to a first-person shooter with a heavy focus on environmental destruction. Much like "Summoner", "Red Faction" was first developed for personal computers before moving to consoles. When Kulas attempted to write a part of the game's code, he found himself writing code for personal computers, having to rewrite everything should it work on consoles. The game was delayed for two months shortly before release to allow the team to polish the game before it shipped. The game went gold shortly thereafter, and received positive reviews, much to the surprise of the development team. Following "Red Faction", Volition developed "Summoner 2", aiming at fixing all flaws made in the first game. While it was received better than the first game, it also sold fewer copies. After that came "Red Faction II", which was ultimately not reviewed as good as the first game, again to the team's surprise. Internally, "Red Faction II" was considered a failure, and the series was halted. Ports of the game, released in 2003, were developed by fellow THQ studios Outrage (for Windows and Xbox) and Cranky Pants Games (for GameCube). A third "Red Faction" game was already in development, but was consequently canceled. A third "Summoner" game was also canceled. Following these cancellations, their teams started development on a heist-style game called "Underground". The team worked on the game for about twelve months, but when "Grand Theft Auto III" was released, the marketing department at THQ pushed the expectations for the game so high that they could not be met, wherefore "Underground", too, was canceled.


title: Volition (company)

text: Following "Underground" cancellation, THQ approached Volition and asked them whether they were willing to create a licensed game. The publisher suggested that they would create a game around Marvel Comics character Punisher, who had a movie coming up, which the studio agreed to. The development team had excursed to Marvel's film studios and were on set, talking to stage designers and witnessing some of the scenes being shot. Meanwhile, in 2003, as the studio grew to 30–40 employees, Kulas hired Dan Cermak as vice-president for the company, who then implemented a new company structure to replace its previous flat hierarchy. As the game neared completion, it was submitted to the Entertainment Software Rating Board (ESRB), which, as the game re-enacted the Punisher's violent interrogation methods, deemed the game to be more of a torture simulator than a game. Some elements were adjusted so that the game could pass the ESRB with a "Mature" rating.


title: Volition (company)

text: At one point, Volition held a design exercise, inviting staff members to submit ideas for a new game. One such idea was a hybrid between a first-person shooter and a "gang simulator", a genre unexplored by most games at the time. A trailer was put together by taking snippets from various movies and games, underlaid with the song "Fuck tha Police", and after it was showcased in their board room, THQ's chief financial officer stepped forward, stating that this would be a game they were willing to develop. Volition imposed several rules on the game, such as the exclusion of children and the inability to kill the police, so to not generate too much controversy. The team shifted away from developing in wide arrays of genres, instead focusing the entire studio's talent on one design principle: open world. The game, initially known as "Bling Bling", was disliked by many of Volition's employees who either did not want to be associated with a gang simulator or thought that their work on the game was not worthwhile. The studio faced further trouble as they switched from the PlayStation 2 to the Xbox 360, because the documentation provided with the Xbox 360 was incomplete, and the final hardware specifications for it unknown.


title: Volition (company)

text: During the game's development, the studio overspent its budget of and brought up its headcount to over 100. After the game, now titled "Saints Row", was finished, the team was asked to write postmortem documentations, which presented a lot of negative views on the game, as well as criticism with the management. When the game was released and sold well, it was decided that Volition would develop another such game, which would become "Saints Row 2". "Saints Row 2" differed from its predecessor in that it was more sandbox-oriented and more infused with humor, which the first game almost completely lacked.


title: Volition (company)

text: Kulas had wished to return to developing a game centered around destruction, either through "Red Faction" or through a new intellectual property, now that console hardware had been advanced enough to handle such gameplay. Thus, the studio decided to develop a new "Red Faction" game, "". From the poor reception of "Red Faction II", the team had learned that destruction-based gameplay was not a good fit for a shooter set in narrow, enclosed corridors, wherefore the team opted for an open world instead. The game's development cycle lasted roughly five years. While "Guerrilla" was set on Mars, the next installment in the franchise, "", went in the other direction by being set inside a cave. A third game in the Saints Row franchise, "Saints Row 3", was announced in February 2009. The game stripped away many features included in its predecessor to make for a more focused but overall still "over-the-top" experience. Under the name "", the game was released in November 2011.


title: Volition (company)

text: In December 2010, at that year's Spike Video Game Awards, film director Guillermo del Toro took the stage to announce "Insane", a horror game developed in partnership with Volition, projecting a 2013 release date. del Toro later revealed that "Insane" would become a trilogy, with total development time spanning one decade. However, in August 2012, THQ announced that "Insane" had been canceled.


title: Volition (company)

text: In April 2011, it was announced that Kulas was retiring from the company, effective on May 2, with Cermak taking over his position as general manager. Following his retirement, he "goofed off" for about four years before he got back together with Toschlog, founding a new studio, Revival Productions, in 2014. The new company went to develop a spiritual successor to "Descent" named "Overload", which was funded through a crowdfunding campaign held on Kickstarter and released in May 2018.


title: Volition (company)

text: In December 2012, THQ filed for Chapter 11 bankruptcy. As the publisher's assets were to be sold off, Koch Media offered a bid for Volition. While a total of six groups—Warner Bros., Electronic Arts, Take-Two Interactive, Ubisoft, Koch Media, and an unnamed group from Chicago—were interested in purchasing the studio, the only other bid submitted was Ubisoft's for . As the sale closed, Volition and the "Saints Row" IP were sold to Koch Media for a total of , and became part of its Deep Silver division. As a result, Volition's operations were transitioned into a new legal entity, named Deep Silver Volition, LLC. In April 2014, DS Volition sought "incentives" from Champaign to remodel. If it met the city's goals, it could have received up to $200,000.


title: Volition (company)

text: Several IPs owned by THQ, including Volition's "Summoner" and "Red Faction", were acquired by Nordic Games (later known as THQ Nordic) for in a second auction held in April. With the purchase of Koch Media by THQ Nordic (now Embracer Group) in February 2018, Volition and their IPs were reunited under one company; responsibility for the "Red Faction" franchise would be moved directly into Deep Silver in May 2020.


title: Volition (company)

text: A fourth "Saints Row" game, "Saints Row IV", was released in August 2013. In September 2014, creative director Steve Jaros left Volition to join Valve. An expansion to "Saints Row IV", titled "" and developed in partnership with High Voltage Software, was released in January 2015.


title: Volition (company)

text: Following "Saints Row IV", Volition developed "Agents of Mayhem", a game set in the "Saints Row" universe, featuring similar gameplay mechanics while being unconnected to the main series. The game released in August 2017 to mixed reviews and poor sales. As a result, about 30 positions, including Cermak, were cut from the studio's previously 200-people-strong workforce. Jim Boone, who had been part of Parallax in 1994, succeeded Cermak as studio development director in October. On December 31, Volition's staff count was 148. In January 2019, Kulas announced his return to Volition as general manager. At the time, Revival Productions was winding down, and when Kulas wondered what to do next, fearing he would end up not doing anything for four years, he decided to re-join the studio after eight years. According to Kulas, his time as an indie developer at Revival helped him "come up to speed on all kinds of stuff".


title: Volition (company)

text: By August 2019, Volition was "deep in development" on a new installment in the "Saints Row" franchise, later revealed to be a reboot of the franchise. At this time, it had 174 employees, and had close to 230 in March 2021. In November 2022, after the "Saints Row" reboot was met with a mixed and "polarized" response, Embracer announced that it would transfer Volition from Deep Silver to Gearbox (which it acquired in 2021) to leverage its resources and expertise. It marked the first time that Embracer Group had transferred a studio between one of its subsidiaries.


title: Script kiddie

text: A script kiddie, skiddie, kiddie, or skid is an unskilled individual who uses scripts or programs developed by others, primarily for malicious purposes


title: Script kiddie

text: In a Carnegie Mellon report prepared for the U.K. Department of Defense in 2000, script kiddies are defined as The more immature but unfortunately often just as dangerous exploiter of security lapses on the Internet. The typical script kiddy uses existing and frequently well known and easy-to-find techniques and programs or scripts to search for and exploit weaknesses in other computers on the Internet—often randomly and with little regard or perhaps even understanding of the potentially harmful consequences.


title: Script kiddie

text: Script kiddies have at their disposal a large number of effective, easily downloadable programs capable of breaching computers and networks.


title: Script kiddie

text: Script kiddies vandalize websites both for the thrill of it and to increase their reputation among their peers. Some more malicious script kiddies have used virus toolkits to create and propagate the Anna Kournikova and Love Bug viruses.


title: Script kiddie

text: Script kiddies lack, or are only developing, programming skills sufficient to understand the effects and side effects of their actions. As a result, they leave significant traces which lead to their detection, or directly attack companies which have detection and countermeasures already in place, or in some cases, leave automatic crash reporting turned on.


title: Realism (art movement)

text: Realism was an artistic movement that emerged in France in the 1840s, around the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the early 19th century. Realism revolted against the exotic subject matter and the exaggerated emotionalism and drama of the Romantic movement. Instead, it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. The movement aimed to focus on unidealized subjects and events that were previously rejected in art work. Realist works depicted people of all classes in situations that arise in ordinary life, and often reflected the changes brought by the Industrial and Commercial Revolutions. Realism was primarily concerned with how things appeared to the eye, rather than containing ideal representations of the world. The popularity of such "realistic" works grew with the introduction of photography—a new visual source that created a desire for people to produce representations which look objectively real.


title: Realism (art movement)

text: The Realists depicted everyday subjects and situations in contemporary settings, and attempted to depict individuals of all social classes in a similar manner. Gloomy earth toned palettes were used to ignore beauty and idealization that was typically found in art. This movement sparked controversy because it purposefully criticized social values and the upper classes, as well as examining the new values that came along with the industrial revolution. Realism is widely regarded as the beginning of the modern art movement due to the push to incorporate modern life and art together. Classical idealism and Romantic emotionalism and drama were avoided equally, and often sordid or untidy elements of subjects were not smoothed over or omitted. Social realism emphasizes the depiction of the working class, and treating them with the same seriousness as other classes in art, but realism, as the avoidance of artificiality, in the treatment of human relations and emotions was also an aim of Realism. Treatments of subjects in a heroic or sentimental manner were equally rejected.


title: Realism (art movement)

text: Realism as an art movement was led by Gustave Courbet in France. It spread across Europe and was influential for the rest of the century and beyond, but as it became adopted into the mainstream of painting it becomes less common and useful as a term to define artistic style. After the arrival of Impressionism and later movements which downgraded the importance of precise illusionistic brushwork, it often came to refer simply to the use of a more traditional and tighter painting style. It has been used for a number of later movements and trends in art, some involving careful illusionistic representation, such as Photorealism, and others the depiction of "realist" subject matter in a social sense, or attempts at both.


title: Realism (art movement)

text: The Realist movement began in the mid-19th century as a reaction to Romanticism and History painting. In favor of depictions of 'real' life, the Realist painters used common laborers, and ordinary people in ordinary surroundings engaged in real activities as subjects for their works. The chief exponents of Realism were Gustave Courbet, Jean-François Millet, Honoré Daumier, and Jean-Baptiste-Camille Corot. Jules Bastien-Lepage is closely associated with the beginning of "Naturalism", an artistic style that emerged from the later phase of the Realist movement and heralded the arrival of Impressionism.


title: Realism (art movement)

text: Realists used unprettified detail depicting the existence of ordinary contemporary life, coinciding in the contemporaneous naturalist literature of Émile Zola, Honoré de Balzac, and Gustave Flaubert.


title: Realism (art movement)

text: Courbet was the leading proponent of Realism and he challenged the popular history painting that was favored at the state-sponsored art academy.


title: Realism (art movement)

text: His groundbreaking paintings "A Burial at Ornans" and "The Stonebreakers" depicted ordinary people from his native region. Both paintings were done on huge canvases that would typically be used for history paintings. Although Courbet's early works emulated the sophisticated manner of Old Masters such as Rembrandt and Titian, after 1848 he adopted a boldly inelegant style inspired by popular prints, shop signs, and other work of folk artisans. In "The Stonebreakers", his first painting to create a controversy, Courbet eschewed the pastoral tradition of representing human subjects in harmony with nature. Rather, he depicted two men juxtaposed against a charmless, stony roadside. The concealment of their faces emphasizes the dehumanizing nature of their monotonous, repetitive labor.


title: Realism (art movement)

text: The French Realist movement had stylistic and ideological equivalents in all other Western countries, developing somewhat later. The Realist movement in France was characterized by a spirit of rebellion against powerful official support for history painting. In countries where institutional support of history painting was less dominant, the transition from existing traditions of genre painting to Realism presented no such schism. An important Realist movement beyond France was the Peredvizhniki or "Wanderers" group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as genre artist Vasily Perov, landscape artists Ivan Shishkin, Alexei Savrasov, and Arkhip Kuindzhi, portraitist Ivan Kramskoy, war artist Vasily Vereshchagin, historical artist Vasily Surikov and, especially, Ilya Repin, who is considered by many to be the most renowned Russian artist of the 19th century.


title: Realism (art movement)

text: Courbet's influence was felt most strongly in Germany, where prominent realists included Adolph Menzel, Wilhelm Leibl, Wilhelm Trübner, and Max Liebermann. Leibl and several other young German painters met Courbet in 1869 when he visited Munich to exhibit his works and demonstrate his manner of painting from nature. In Italy the artists of the Macchiaioli group painted Realist scenes of rural and urban life. The Hague School were Realists in the Netherlands whose style and subject matter strongly influenced the early works of Vincent van Gogh. In Britain artists such as the American James Abbott McNeill Whistler, as well as English artists Ford Madox Brown, Hubert von Herkomer and Luke Fildes had great success with realist paintings dealing with social issues and depictions of the "real" world.


title: Realism (art movement)

text: In the United States, Winslow Homer and Thomas Eakins were important Realists and forerunners of the Ashcan School, an early-20th-century art movement largely based in New York City. The Ashcan School included such artists as George Bellows and Robert Henri, and helped to define American realism in its tendency to depict the daily life of poorer members of society.


title: Realism (art movement)

text: Later on in America, the term realism took on various new definitions and adaptations once the movement hit the U.S. Surrealism and magical realism developed out of the French realist movement in the 1930s, and in the 1950s "new realism" developed. This sub-movement considered art to exist as a thing in itself opposed to representations of the real world. In modern-day America, realism art is generally regarded as anything that does not fall into abstract art, therefore including mostly art that depicts realities.


title: Emirate of Fujairah

text: The Emirate of Fujairah ( "" ) is one of the seven emirates that make up the United Arab Emirates. The only of the seven with a coastline solely on the Gulf of Oman and none on the Persian Gulf, its capital is Fujairah.


title: Emirate of Fujairah

text: The Emirate of Fujairah, dominated by the "Sharqiyin" tribe, sits at the mouth of the important trade route, the "Wadi Ham" (which is guarded by the Sharqiyin Al Bithnah Fort), through the mountains to the interior and the Persian Gulf Coast. Known as the "Shamaliyah", the east coast of what is now the UAE was subject to Muscat until 1850, when it was annexed by "Al Qasimi" of Sharjah, in an agreement made between Sheikh Sultan bin Saqr Al Qasimi and the Sultan of Muscat. The Shamaliyah was governed by Al-Qasimi Wali at Kalba although frequently seceded and in 1901 Sheikh Hamad bin Abdullah Al Sharqi, chief of the Sharqiyin, declared independence from Sharjah. This was recognized by a number of the Trucial Sheikhs and also by Muscat, but not the British, who were frequently provoked by the independently minded Ruler. At this time, The Emirate of Fujairah consisted of some 150 houses and 3,000 date palms and its people lived mainly through pearling and date cultivation. Since the absorption of Kalba by Sharjah in 1952, the Shamaliyah is shared by the emirates of Fujairah and Sharjah.


title: Emirate of Fujairah

text: In 1952, The Emirate of Fujairah entered into treaty relations with Britain, becoming the last of the emirates to join the Trucial States. Having withheld this recognition for over fifty years, the British government only granted it because the oil exploration company Petroleum Concessions Limited (PCL) needed to sign a concession with a recognized ruler. On 2 December 1971, The Emirate of Fujairah joined the United Arab Emirates.


title: Emirate of Fujairah

text: Archaeological finds in the Emirate of Fujairah point to a history of human occupation and trading links stretching back at least 4,000 years, with Wadi Suq (2,000 to 1,300 BC) burials located at Bithnah and the Qidfa' Oasis. A third millennium BCE tower was used to construct the Portuguese fort at Bidiyah, identified with the Portuguese 'Libedia', a fortress recorded in de Resende's 1646 map - the fortress itself has been carbon dated to 1450–1670.


title: Emirate of Fujairah

text: The Emirate of Fujairah is also rich in late Islamic fortresses, as well as being home to the oldest mosque in use in the United Arab Emirates, Al Badiyah Mosque, which was built in 1446 of mud and bricks. It is similar to other mosques found in Yemen, eastern Oman, and Qatar. Al Bidyah Mosque has four domes (unlike the other similar mosques which have between seven and twelve) and lacks a minaret.


title: Emirate of Fujairah

text: The Emirate of Fujairah covers approximately , or about 1.5% of the area of the UAE, and is the fifth-largest emirate in the UAE.


title: Emirate of Fujairah

text: The weather is seasonal, although it is warm most of the year. The months of December to March are generally the coolest, with daytime temperatures averaging around and rarely venturing above —with temperatures climbing to over degrees in the summer. The winter period also coincides with the rainy season and although by no means guaranteed, this is when the Emirate of Fujairah experiences the bulk of its precipitation. Rainfall is higher than the rest of the UAE, partly because of the effect of the mountains that encircle the Emirate, and partly because the prevailing winds are easterly bringing with them water-laden clouds off the warm Indian Ocean. The variability of the east coast climate is partly due to the presence of the Hajar mountain range. As with other mountainous areas, precipitation is higher, and this allows for a more varied micro-environment in the area. Tourist visitor numbers peak just before the school summer months.


title: Emirate of Fujairah

text: The Emirate of Fujairah had a population of 125,698 at the last census, held in 2005. Its population is around 225,360 inhabitants (in 2016); only the Emirate of Umm al-Quwain has fewer occupants. The 2019 population estimates is 256,256 inhabitants.


title: Emirate of Fujairah

text: The Emirate of Fujairah is an absolute monarchy ruled by its "Hakim", Sheikh Hamad bin Mohammed Al Sharqi.


title: Emirate of Fujairah

text: The Sheikh heads the cabinet of the Emirate of Fujairah, and a few members of respected local families in the emirate make up the advisory committees. The Sheikh must ratify any decisions by the cabinet. After the ratification, such decisions may be enacted into law.


title: Emirate of Fujairah

text: The Emirate of Fujairah's economy is based on subsidies and federal government grants distributed by the government of Abu Dhabi (the seat of power in the UAE). Local industries consist of cement, stone crushing, and mining. A resurgence in the construction activity helped the local industry. There is a flourishing free trade zone, mimicking the success of the Dubai Free Zone Authority which was established around Jebel Ali Port.


title: Emirate of Fujairah

text: The federal government employs the majority of the native, local workforce, with few opening businesses of their own. Many of the locals work in the service sector. The government of the Emirate of Fujairah prohibits foreigners from owning more than 49% of any business. The free zones have flourished, partly due to the relaxation of such prohibition within the zones, as full foreign ownership is allowed there. Shaikh Saleh Al Sharqi, younger brother to the ruler, is widely recognized as the driving force behind the commercialization of the economy.


title: Emirate of Fujairah

text: The Emirate of Fujairah is a minor bunkering port with large scale shipping operations taking place every day. Shipping and ship-related services are thriving businesses in the city. Due to the business-friendly environment and ease of logistic support, ships trading from Persian Gulf anchor here for provisions, bunkers, repair, and technical support, spares, and stores before proceeding on long voyages. The city is also geographically well suited for such ship service-related activities.


title: Emirate of Fujairah

text: The government of The Emirate of Fujairah is a major shareholder in the National Bank of Fujairah, a UAE local bank. Incorporated in 1982, the National Bank of Fujairah (NBF) is active in the areas of corporate and commercial banking, trade finance and treasury. NBF has also expanded portfolio to include personal banking options and Shariah-compliant services. NBF supports industries ranging from oil and shipping to services, manufacturing, construction, education, and healthcare.


title: Emirate of Fujairah

text: Foreigners or visitors are not allowed to buy land. Emirati nationals can purchase land from the government, after proving their nationality. If there is no suitable land available via the official government offices, private purchases can also be made, with the eventual price being determined by the market and the individuals themselves.


title: Emirate of Fujairah

text: The ruler is planning to make changes that will affect the Emirate of Fujairah. Among tourism projects is an $817m resort, Al-Fujairah Paradise, near Dibba Al-Fujairah, on the northern Omani border, next to Le Meridien Al Aqah Beach Resort. The planned development would have around 1,000 five-star villas as well as hotels, but has since been cancelled.


title: Emirate of Fujairah

text: The Sheikh is trying to improve opportunities for the local workforce, by trying to entice businesses to locate in the Emirate of Fujairah and diverting Federal funds to local companies in the form of development projects.


title: Emirate of Fujairah

text: Health care is delivered in a mixed public and private system. Locals are treated for free at the federal government hospitals, while foreigners have to pay for medical care. The national government funds the federal hospitals and subsidize health care with petrodollar revenues. There are criticisms that the government is not providing health care sufficiently for those with low income, who have to pay for critical treatment themselves.


title: Emirate of Fujairah

text: The government of the Emirate of Fujairah has built clinics, known locally as "medical houses". These clinics complement and help lighten the load on the main Fujairah Hospital by allowing walk-in appointments and providing ancillary medical services. These clinics have turned out to be a success, visited by the local populace.


title: Emirate of Fujairah

text: There are many government schools in the Emirate of Fujairah, which are mainly for Emirati people, besides some numbers of Arab residents. Aside from government schools, there are also private schools, and due to the majority of the population of the Emirate hailing from the Indian subcontinent, most of the private schools follow the Indian Central Board of Secondary Education (CBSE) syllabus, accredited by the Central Education Board of India.


title: Emirate of Fujairah

text: Fujairah Montessori Nursery is the oldest pre-school in the Emirate of Fujairah. It admits children from the age of two years. It is located in the Al Faseel area. There are several nursery and kindergarten schools in the Emirate of Fujairah. 'Superbaby' in Al Faseel 'Smart kids', 'Mom and Kids' and 'Little Stars' are used by expat families.


title: Emirate of Fujairah

text: Travel in and around the Emirate of Fujairah and the surrounding towns of Khor Fakkan, Kalba and Masafi has been made easy by the development of modern highways since independence in 1971. Highways are funded by the federal government directly, and contracts are tendered centrally. This is meant to safeguard the quality and delivery of the contracts and prevent corruption from damaging the construction.


title: Emirate of Fujairah

text: The Emirate of Fujairah has a very limited public transport, with a single bus service operating within the emirate and a service operating to Dubai. Aside from private transport, there are several taxis operated by the government-owned Emirate of Fujairah Transport Corporation (FTC).


title: Emirate of Fujairah

text: The new Sheikh Khalifa Highway linking Dubai and Fujairah was officially inaugurated on Saturday, 4 December 2011, following delays to the originally scheduled opening date of July 2011. It is a road that shortens the distance by . The Fujairah International Airport is near the city, with a large falcon statue at the airport roundabout. However, currently, it only offers commercial service to Abu Dhabi, a domestic destination within the UAE.


title: Emirate of Fujairah

text: LuLu Mall Fujairah opened in 2014. City Centre Fujairah opened in April 2012 with 105 units along with Century Mall near the Fujairah Ports. The construction of the Fujairah Mall was completed in 2016. Fathima Shopping Center in Fujairah is another shopping destination.


title: Emirate of Fujairah

text: The Emirate of Fujairah is connected to other emirates by a highway called Sheikh Khalifa bin Zayed Highway and links Dubai and Sharjah to Fujairah within a 30 minutes drive. The road begins from the entrance of Fujairah, crossing Al Gazirmi locality, Wadi Sahm, Asfeeni, Mamdooh, Kadra and Shawka Valleys in Ras Al Khaimah, and ends at Maleeha Road in Sharjah, at Hamda area.


title: Emirate of Fujairah

text: The UAE culture mainly revolves around the religion of Islam and traditional Arab culture. The influence of Islamic and Arab culture on its architecture, music, attire, cuisine, and lifestyle are very prominent as well. Five times every day, Muslims are called to prayer from the minarets of mosques which are scattered around the country. Since 2006, the weekend has been Friday-Saturday, as a compromise between Friday's holiness to Muslims and the Western weekend of Saturday-Sunday.


title: Emirate of Fujairah

text: Drinking alcohol is allowed at designated hotels, and as of 2000, at a few bars. Until 1998, gambling in the form of slot machines was allowed in certain hotels, but personal petitions by locals to the Sheikh outlawed the activity. Some players were losing entire monthly wages on the slots, leaving nothing for the upkeep of their families.


title: Emirate of Fujairah

text: Groups of Emirati youths tend to socialize together on the streets and cafés or outside games arcades, cinemas, and mini-malls. It is unusual to see mixed-sex groups due to gender segregation in Emirati society.


title: Emirate of Fujairah

text: On vacations, many Fujairah residents travel to western emirates such as Dubai and Abu Dhabi, for entertainment and shopping purposes. They also visit the Wadis surrounding the emirate on camping and hiking trips. At the same time, other emirates' residents visit the Emirate of Fujairah for relaxation purposes and to get away from the stifling heat of the desert. Watersports such as jet skis, windsurfing, waterskiing and diving are becoming more and more popular amongst both locals and tourists. Professional driving instructors can be found in Le Meridien or in Royal Beach Hotel, where one can obtain an International Driving License, for a fee.


title: Burnie Burns

text: Michael Justin "Burnie" Burns (born January 18, 1973) is an American writer, actor, producer, comedian, host, and director previously based in Austin, Texas. He is a co-founder, former chief executive officer, and former chief creative officer of Rooster Teeth. He is noted for his contributions in machinima, a form of film-making that uses video game technology in its production, and also works with animation and live action. Burns is also known for his work in the hosting and podcasting field.


title: Burnie Burns

text: In April 2003, Burns, along with several friends and co-workers, created the machinima series "Red vs. Blue: The Blood Gulch Chronicles". Filmed using the video game "," "Red vs. Blue" was acclaimed for its humor and originality, making Burns an Internet celebrity. His success allowed him to co-found the production company Rooster Teeth. After the immediate popularity of "Red vs. Blue", Burns attracted the attention of video game company Electronic Arts, who asked him to create a promotional series using their upcoming game, "The Sims 2". The result was "The Strangerhood". Burns also premiered "P.A.N.I.C.S.", a mini-series that utilizes the "F.E.A.R." game engine. In 2016, Burns starred in the science fiction comedy film "Lazer Team" and its sequel the following year, both of which he co-wrote.


title: Burnie Burns

text: As one of the innovators in the field of machinima, he has made guest appearances at the Penny Arcade Expo, San Diego Comic-Con International, Sundance and The Sydney Film Festival. For his work on "Immersion" (2010), a live action series that tests video game tropes in the real world, and "The Gauntlet" (2013), Rooster Teeth's reality game show, he has been nominated for two IAWTV awards in the "Best Host of a Web Series (Pre-Recorded)" category. He was named one of the "Top 25 Digital Stars" by "The Hollywood Reporter" in 2015. Alongside longtime-business partner Matt Hullum, he was named one of Variety's top Digital Entertainment Execs to Watch in 2018.


title: Burnie Burns

text: Burns was born in the Rochester, New York area and grew up in Houston, Texas. His father was a physics professor who worked on the Desertron Super Collider. He is of one quarter French-Canadian descent. The nickname "Burnie" was given to him by an Alief Elsik High School senior to separate him from the many Michaels in his class. Burns' determination to pursue a medical career led him to become a member of HOSA. Half of his senior year consisted of clinical rotations at Southwest Memorial Hospital.


title: Burnie Burns

text: After high school, he was accepted at the University of Notre Dame but, unable to afford the tuition, he chose to attend The University of Texas at Austin, where he received a Bachelor of Arts in Computer Science. While there, Burns got his start in video production by volunteering at K29HW-D, Texas Student Television. During his time with TSTV, he founded "Sneak Peek", the longest-running student television program in the world, in which he reviewed films and conducted interviews with guests such as Adam Sandler.


title: Burnie Burns

text: Burns went on to become the president of the tech support company teleNetwork Partners, and eventually broke out to form his independent company Rooster Teeth.


title: Burnie Burns

text: In his final year of university, Burns was intent on making a movie. Joel Heyman and Matt Hullum, who were roommates at the time, agreed to help, with the former agreeing to star and the latter helping write, produce and direct. They shot "The Schedule" (1997) over a three-month period on 16mm film for $9,000. It took 10 months to edit on a non-linear editor Burns himself built. That same system was used in his early videos, including their first viral hit.


title: Burnie Burns

text: Burns became frustrated with the difficult distribution process and the film only screened in a few festivals. They turned down an offer of about $25,000 to buy because they "wanted to hold onto the story." A few VHS copies of "The Schedule" exist in Burns' possession. Soon after, the trio parted ways. Heyman and Hullum went to Los Angeles, while Burns accepted a position at a local tech support company.


title: Burnie Burns

text: There, he met his co-workers and future "Red vs. Blue" collaborators Geoff Ramsey and Gus Sorola. In June 2002, Burns teamed up with his colleagues to create their first viral video, a Mac Gamer Switch parody.


title: Burnie Burns

text: Burns attributes "two vectors that came together, the movie guys and the tech guys," as being a catalyst for their success.


title: Burnie Burns

text: Burns joined Geoff Ramsey and Gus Sorola in one of their many Internet ventures, "drunkgamers".com creating voiceover-enhanced gameplay videos for the website. The trio were giant enthusiasts of the 2001 first-person shooter video game "", leading them to discuss whether an automobile in the game known as a Warthog looks like a puma. Burns has said that this discussion was "the spark for the whole series". Seeing potential for a full story, Burns created a , which was released September 5, 2002 on the "drunkgamers" website, but it was largely ignored, and, for unrelated reasons, "drunkgamers" soon closed. Four months later, "Computer Gaming World" contacted Ramsey for permission to include a different "drunkgamers" video in a CD to be distributed with the magazine. Ramsey granted permission, but he and Burns felt that they needed a website to take advantage of the exposure from "Computer Gaming World". They therefore resurrected "Red vs. Blue" and re-released the trailer to coincide with the "Computer Gaming World" issue. Burns founded the production company Rooster Teeth to produce the show with Sorola, Ramsey, Matt Hullum and Joel Heyman. The was released on April 1, 2003. The series is primarily produced using the machinima technique of synchronizing video footage from a game to pre-recorded dialogue and other audio.


title: Burnie Burns

text: Burns initially envisioned "Red vs. Blue" to be short, but the series grew beyond his expectations. Burns and Ramsey had preconceived a list of jokes for which they allocated six to eight episodes. By , however, they realized that the series had fleshed out more than expected; they had covered only about one third of their original list. At the same time, the show received the attention of major websites such as Slashdot, Penny Arcade, and Fark, leading to thousand of views. Later in , Burns estimated a series of 22 episodes; however, driven by the series' popularity, he realized that there was more potential story than could be covered in that length, and was able to conceive an extension of the season 1 plot. Burns and the whole production team eventually quit their jobs and began to work full-time on the series; to generate revenue they created an online store to sell T-shirts.


title: Burnie Burns

text: After the first season of "Red vs. Blue", Burns, voicing the character of Church, became a celebrity in the machinima community. As the director, writer, and lead actor of the series, he was the driving force behind the series. His series earned three awards at the 2003 Machinima Film Festival – Best Picture, Best Writing, and Best Independent Machinima Film – and was nominated for three others.


title: Burnie Burns

text: The series completed its original five season 100-episode run on June 28, 2007, collectively known as the "Blood Gulch Chronicles". Subsequent seasons were re-tooled with "The Recollection Trilogy" for seasons 6–8 ("Reconstruction", "Recreation", and "Revelation"), and "The Freelancer Saga" for seasons 9 and 10. Since season eleven, which premiered on June 14, 2013, Burns handed directorial and head writing duties to Miles Luna to shift his focus onto other projects. He still provides voice work for characters such as Church, Lopez and Vic.


title: Burnie Burns

text: In 2004, 13 months after the first season of "Red vs. Blue" had finished airing, Burns and Matt Hullum created the comedy web series "The Strangerhood". The series uses the same machinima technique used to film "Red vs. Blue".


title: Burnie Burns

text: The idea for the series came from the E3 gaming convention where Burns and his Rooster Teeth partners were introduced to the life simulation game "The Sims 2" and realized that the game would be suitable for a series that parodied reality television. The game's publisher Electronic Arts allowed them to continue with the project. The series centers on eight strangers who awake one day unaware of where they are or how they arrived there. Its first season of 17 episodes completed on April 27, 2006. In 2005, the group collaborated with Paul Marino on "Strangerhood Studios", a spin-off commissioned by the Independent Film Channel. This spin-off was the first machinima series to be commissioned for broadcast and won an award for Best Editing at the 2005 Machinima Film Festival.


title: Burnie Burns

text: The following year Burns and Rooster Teeth created the comic science fiction machinima mini-series "P.A.N.I.C.S." based on and filmed using the video game "F.E.A.R." developed by Monolith Productions, who asked them to produce the series for the Director's Edition of the game. The series consists of five episodes.


title: Burnie Burns

text: The story centers on a newcomer to Bravo Team, a special military group formed to battle supernatural enemies. As the series begins, Bravo Team has been sent into a military facility at night to investigate the reports of paranormal activity from within. This is a parody of the main scenario used in "F.E.A.R."


title: Burnie Burns

text: Burns first returned to live-action with "Captain Dynamic" a mini-series to promote the online game "City of Heroes". It was based around a team of writers hired to use the new in-game content creation tools to promote the title character, Captain Dynamic, the 'worst superhero in the world'. Directed by Matt Hullum and written by Burns, the series starred Ed Robertson of the Barenaked Ladies, who is a long time friend.


title: Burnie Burns

text: The series was well received by fans, which led him and Rooster Teeth to begin producing a new live-action series, titled "Rooster Teeth Shorts" (also referred to as "RT Shorts"), a sketch comedy which parodies life at their offices. The series features the staff of Rooster Teeth, including Burns, who all play caricatures of themselves, as well as occasional appearances from voice actors from some of their machinima series. The first season ran for twenty episodes and five seasons have since followed, as well as six-second mini episodes released exclusively through the video sharing service Vine.


title: Burnie Burns

text: On December 29, 2008 Burns co-hosted the inaugural episode of the "Drunk Tank" audio podcast, alongside his Rooster Teeth co-workers Geoff Ramsey and Gus Sorola. The podcast consists largely of comedic commentary on the popular culture of the week, including video games, recent news, website features, sports and upcoming projects and is available for download through iTunes, Zune Marketplace and their website. It has since become one of the more popular features of the site, at one point becoming the #1 most downloaded podcast on iTunes, as well as a featured podcast in the iTunes Store. New episodes have been released regularly every Wednesday since April 10, 2009, with occasional special episodes or multiple releases in one week.


title: Burnie Burns

text: In September 2011, the podcast was renamed "The Rooster Teeth Podcast". The show has since become available in video form and Burns continues to make regular appearances. On January 7, the podcast won "Best Gaming Podcast" at the 8th Annual Podcast Awards. The Rooster Teeth Podcast has recently adapted a new style of doing podcasts in which they live stream to "sponsors" on their website, in video, the night before the release of the audio podcast on iTunes and their site. The sponsor live stream is then later available 1 day on the Rooster website and 2 days later on YouTube.


title: Burnie Burns

text: Burns began co-hosting "Immersion" alongside Griffon Ramsey in 2010. The show tests the concepts of video games in real life, such as whether the heckling that sometimes occurs in multiplayer video games would negatively affect the performance of real soldiers. Burns joked in "The Rooster Teeth Podcast" that the series started as an "elaborate way for [them] to do fun stuff and get paid for it". Geoff Ramsey and Gus Sorola were the test subjects throughout the first season. Gavin Free and Michael Jones (of Achievement Hunter) served as the test subjects for the second season.


title: Burnie Burns

text: On Halloween 2012, a partnership between Rooster Teeth and Blip was announced, with the premiere of their new 10-episode, reality game competition series sponsored by GEICO. "The Gauntlet" follows gamers from around the United States competing in contests of skills, concentration, agility and stamina, inspired by reality competitions "Wipeout" and "The Voice". The first season was hosted by Ali Baker and Burns. Season two was hosted by Burns and Joel Heyman and began on September 7, 2013.


title: Burnie Burns

text: The pilot episode of "Million Dollars, But..." premiered on May 21, 2015, with the series continuing on July 9, 2015. The ongoing series is frequently co-hosted by Burns and Gavin Free, with another special guest taking part. Each person has to come up with a typically difficult scenario, for example one where the person has to date Adolf Hitler for a year — which the cast comically re-enact — for which they will be given a million dollars.


title: Burnie Burns

text: His producing work includes executive producing the 2012 documentary film "", about the Swedish video game developer Mojang, the creators of the popular video game "Minecraft". In 2013, he began executive producing the anime-influenced web series "RWBY", created by Rooster Teeth employee Monty Oum. A second season premiered in 2014. Oum died on February 1, 2015. A third season of the show premiered on October 24, 2015. In 2014, Burns served as executive producer on the show "X-Ray and Vav", a cartoon web series starring two Achievement Hunter employees (a video gaming division of Rooster Teeth) Gavin Free and Ray Narvaez, Jr. In 2016, Burns and Gavin Free hosted the documentary "World's Greatest Head Massage: An ASMR Journey".


title: Burnie Burns

text: In June 2014, Rooster Teeth launched a crowdfunding campaign for the film "Lazer Team" on Indiegogo. The fundraiser reached its $650,000 goal in under 10 hours and broke Indiegogo's record for the fastest film campaign to reach $700,000. Within three days, "Lazer Team" broke $1 million. , "Lazer Team" held the record for the highest funded film campaign on Indiegogo with over $2.4 million collected.


title: Burnie Burns

text: Burns explained during the campaign that as it makes more money, the film's budget scales up. "The initial budget for talent was based on making the movie on the bare minimum with us throwing in the remainder of the expected budget. For instance, that meant using talent almost exclusively from in-house. As the budget grows, so do our opportunities to approach all kinds of talent. The same applies to Visual FX, quality of props and costuming, lighting, crew, etc." Burns co-wrote, co-produces, and co-stars in the film as Hagan. It was released in January 2016, making it among the first titles that Rooster Teeth's parent company, Fullscreen, will be distributing in its newly launched feature film division.


title: Burnie Burns

text: Burns appeared in the 2015 short film, "Hit", as Officer Harris and the sports comedy-drama "The Outfield". Burns appeared in the YouTube Red series "12 Deadly Days" from Blumhouse Television.


title: Burnie Burns

text: Burns has participated in two episodes of the improvisational comedy game show "@midnight". In 2015, Burns took part in twenty-eighth season of "The Amazing Race" with his then-fiancée, Ashley Jenkins, coming in fourth place. In 2017, Burns made a brief cameo in "It's Always Sunny in Philadelphia" as a bar patron with no lines. In September 2017, alongside Jenkins, he co-hosted the inaugural Purpose Awards, an expansion from the Streamy Awards.


title: Burnie Burns

text: He married Jordan Burns in August 2000 and divorced in December 2011. Burns became engaged to The Know host Ashley Jenkins in early 2016. They married in June 2019.


title: Burnie Burns

text: He mainly resided in Austin, Texas, after briefly spending time in Los Angeles, California. When Burns announced his resignation from Rooster Teeth on June 11, 2020, he also announced he was moving away from the United States. He has since moved away from public life and has kept his family’s current location private.


title: Christian atheism

text: Christian atheism is a form of Christianity that rejects the theistic claims of Christianity, but draws its beliefs and practices from Jesus' life and teachings as recorded in the New Testament Gospels and other sources.


title: Christian atheism

text: Thomas Ogletree, Frederick Marquand Professor of Ethics and Religious Studies at Yale Divinity School, lists these four common beliefs:


title: Christian atheism

text: According to Paul van Buren, a Death of God theologian, the word God itself is "either meaningless or misleading". Van Buren contends that it is impossible to think about God and says: We cannot identify anything which will count for or against the truth of our statements concerning 'God'. The inference from these claims to the "either meaningless or misleading" conclusion is implicitly premised on the verificationist theory of meaning.


title: Christian atheism

text: Most Christian atheists believe that God never existed, but there are a few who believe in the death of God literally. Thomas J. J. Altizer is a well-known Christian atheist who is known for his literal approach to the death of God. He often speaks of God's death as a redemptive event. In his book "The Gospel of Christian Atheism", he says: Every man today who is open to experience knows that God is absent, but only the Christian knows that God is dead, that the death of God is a final and irrevocable event and that God's death has actualized in our history a new and liberated humanity.


title: Christian atheism

text: Theologians including Altizer and Colin Lyas, a philosophy lecturer at Lancaster University, looked at the scientific, empirical culture of today and tried to find religion's place in it. In Altizer's words:


title: Christian atheism

text: Thomas Altizer has said: [T]he radical Christian believes that the ecclesiastical tradition has ceased to be Christian.


title: Christian atheism

text: Altizer believed that orthodox Christianity no longer had any meaning to people because it did not discuss Christianity within the context of contemporary theology. Christian atheists want to be completely separated from most orthodox Christian beliefs and biblical traditions. Altizer states that a faith will not be completely pure if it not is open to modern culture. This faith "can never identify itself with an ecclesiastical tradition or with a given doctrinal or ritual form". He goes on to say that faith cannot "have any final assurance as to what it means to be a Christian". Altizer said: "We must not, he says, seek for the sacred by saying 'no' to the radical profanity of our age, but by saying 'yes' to it". They see religions which withdraw from the world as moving away from truth. This is part of the reason why they see the existence of God as counter-progressive. Altizer wrote of God as the enemy to man because mankind could never reach its fullest potential while God existed. He went on to state that "to cling to the Christian God in our time is to evade the human situation of our century and to renounce the inevitable suffering which is its lot".


title: Christian atheism

text: Although Jesus is still a central feature of Christian atheism, Hamilton said that to the Christian atheist, Jesus as a historical or supernatural figure is not the foundation of faith; instead, Jesus is a "place to be, a standpoint". Christian atheists look to Jesus as an example of what a Christian should be, but they do not see him as God, nor as the Son of God; merely as an influential rabbi.


title: Christian atheism

text: Hamilton wrote that following Jesus means being "alongside the neighbor, being for him" and that to follow Jesus means to be human, to help other humans, and to further humankind.


title: Christian atheism

text: Other Christian atheists such as Thomas Altizer preserve the divinity of Jesus, arguing that through him God negates God's transcendence of being.


title: Christian atheism

text: Out of all Americans who do not believe in God, 5% identified as Catholic while 9% identified as Protestant and other Christian according to the 2007 Pew Religious Landscape survey. Out of all Americans who identify as unaffiliated including atheists and agnostics, 41% were raised Protestant and 28% were raised Catholic according to the 2014 Pew Religious Landscape survey.


title: Christian atheism

text: In the Netherlands, 42% of the members of the Protestant Church in the Netherlands (PKN) are nontheists. Non-belief among clergymen is not always perceived as a problem. Some follow the tradition of "Christian non-realism", most famously expounded in the United Kingdom by Don Cupitt in the 1980s, which holds that God is a symbol or metaphor and that religious language is not matched by a transcendent reality. According to an investigation of 860 pastors in seven Dutch Protestant denominations, 1 in 6 clergy are either agnostic or atheist. In one of those denominations, the Remonstrant Brotherhood, the number of doubters was 42 percent. A minister of the PKN, Klaas Hendrikse has described God as "a word for experience, or human experience" and said that Jesus may have never existed. Hendrikse gained attention with his book published in November 2007 in which he said that it was not necessary to believe in God's existence in order to believe in God. The Dutch title of the book translates as "Believing in a God Who Does Not Exist: Manifesto of An Atheist Pastor". Hendrikse writes in the book that "God is for me not a being but a word for what can happen between people. Someone says to you, for example, 'I will not abandon you', and then makes those words come true. It would be perfectly alright to call that [relationship] God". A General Synod found Hendrikse's views were widely shared among both clergy and church members. The February 3, 2010 decision to allow Hendrikse to continue working as a pastor followed the advice of a regional supervisory panel that the statements by Hendrikse "are not of sufficient weight to damage the foundations of the Church. The ideas of Hendrikse are theologically not new, and are in keeping with the liberal tradition that is an integral part of our church", the special panel concluded.


title: Christian atheism

text: A Harris Interactive survey from 2003 found that 90% of self-identified Protestants in the United States believe in God and about 4% of American Protestants believe there is no God. In 2017, the WIN-Gallup International Association (WIN/GIA) poll found that Sweden, a majority Christian country, had second highest percentage (76%) of those who claim themselves atheist or irreligious, after China.


title: Christian atheism

text: A substantial portion of Quakers are nontheist Quakers. Among British Quakers, 14.5% identified as atheists and 43% felt "unable to profess belief in God" in 2013.


title: Christian atheism

text: Guatemala is the most Protestant country in Latin American area, but only 60% of population believe in God´s existence, compared to more than 90% in other Latin American coutries, specially those Catholicism still the dominant religious faith.


title: Christian atheism

text: Catholic atheism is a belief in which the culture, traditions, rituals and norms of Catholicism are accepted, but the existence of God is rejected. It is illustrated in Miguel de Unamuno's novel "San Manuel Bueno, Mártir" (1930). According to research in 2007, only 27% of Catholics in the Netherlands considered themselves theist while 55% were ietsist or agnostic deist and 17% were agnostic or atheist. Many Dutch people still affiliate with the term "Catholic" and use it within certain traditions as a basis of their cultural identity, rather than as a religious identity. The vast majority of the Catholic population in the Netherlands is now largely irreligious in practice.


title: Christian atheism

text: In his book "Mere Christianity", the apologist C. S. Lewis objected to Hamilton's version of Christian atheism and the claim that Jesus was merely a moral guide:


title: Christian atheism

text: I am trying here to prevent anyone saying the really foolish thing that people often say about Him: 'I'm ready to accept Jesus as a great moral teacher, but I don't accept his claim to be God.' That is the one thing we must not say. A man who was merely a man and said the sort of things Jesus said would not be a great moral teacher. He would either be a lunatic—on the level with the man who says he is a poached egg—or else he would be the Devil of Hell. You must make your choice. Either this man was, and is, the Son of God, or else a madman or something worse. You can shut him up for a fool, you can spit at him and kill him as a demon or you can fall at his feet and call him Lord and God, but let us not come with any patronising nonsense about his being a great human teacher. He has not left that open to us. He did not intend to. ... Now it seems to me obvious that He was neither a lunatic nor a fiend: and consequently, however strange or terrifying or unlikely it may seem, I have to accept the view that He was and is God.


title: Christian atheism

text: Lewis's argument, now known as Lewis's trilemma, has been criticized for, among other things, constituting a false trilemma, since it does not deal with other options (such as Jesus being mistaken, or simply mythical). Philosopher John Beversluis argues that Lewis "deprives his readers of numerous alternate interpretations of Jesus that carry with them no such odious implications". Bart Ehrman stated it is a mere legend that the historical Jesus has called himself God; that was unknown to Lewis since he never was a professional Bible scholar.


title: Son of God

text: Historically, many rulers have assumed titles such as the son of God, the son of a god or the son of heaven.


title: Son of God

text: The term "son of God" is used in the Hebrew Bible as another way to refer to humans who have a special relationship with God. In Exodus, the nation of Israel is called God's firstborn son. Solomon is also called "son of God". Angels, just and pious men, and the kings of Israel are all called "sons of God."


title: Son of God

text: In the New Testament of the Christian Bible, "Son of God" is applied to Jesus on many occasions. On two occasions, Jesus is recognized as the Son of God by a voice which speaks from Heaven. Jesus explicitly and implicitly describes himself as the Son of God and he is also described as the Son of God by various individuals who appear in the New Testament. Jesus is called the "son of God," and followers of Jesus are called, "sons of God." As applied to Jesus, the term is a reference to his role as the Messiah, or Christ, the King chosen by God. (). The contexts and ways in which Jesus' title, Son of God, means something more or something other than the title Messiah remain the subject of ongoing scholarly study and discussion.


title: Son of God

text: The term "Son of God" should not be confused with the term "God the Son" (), the second Person of the Trinity in Christian theology. The doctrine of the Trinity identifies Jesus as God the Son, identical in essence but distinct in person with regard to God the Father and God the Holy Spirit (the first and third Persons of the Trinity). Nontrinitarian Christians accept the application to Jesus of the term "Son of God", which is found in the New Testament.


title: Son of God

text: Throughout history, emperors and rulers ranging from the Western Zhou dynasty (c. 1000 BC) in China to Alexander the Great (c. 360 BC) to the Emperor of Japan (c. 600 AD) have assumed titles that reflect a filial relationship with deities.


title: Son of God

text: The title "Son of Heaven" i.e. 天子 (from 天 meaning sky/heaven/god and 子 meaning child) was first used in the Western Zhou dynasty (c. 1000 BC). It is mentioned in the Shijing book of songs, and reflected the Zhou belief that as Son of Heaven (and as its delegate) the Emperor of China was responsible for the well-being of the whole world by the Mandate of Heaven. This title may also be translated as "son of God" given that the word "Tiān" in Chinese may either mean sky or god. The Emperor of Japan was also called the Son of Heaven (天子 "tenshi") starting in the early 7th century.


title: Son of God

text: Among the Eurasian nomads, there was also a widespread use of "Son of God/Son of Heaven" for instance, in the third century BC, the ruler was called Chanyü and similar titles were used as late as the 13th century by Genghis Khan.


title: Son of God

text: Examples of kings being considered the son of god are found throughout the Ancient Near East. Egypt in particular developed a long lasting tradition. Egyptian pharaohs are known to have been referred to as the son of a particular god and their begetting in some cases is even given in sexually explicit detail. Egyptian pharaohs did not have full parity with their divine fathers but rather were subordinate. Nevertheless, in the first four dynasties, the pharaoh was considered to be the embodiment of a god. Thus, Egypt was ruled by direct theocracy, wherein "God himself is recognized as the head" of the state. During the later Amarna Period, Akhenaten reduced the Pharaoh's role to one of coregent, where the Pharaoh and God ruled as father and son. Akhenaten also took on the role of the priest of god, eliminating representation on his behalf by others. Later still, the closest Egypt came to the Jewish variant of theocracy was during the reign of Herihor. He took on the role of ruler not as a god but rather as a high-priest and king.


title: Son of God

text: According to the Bible, several kings of Damascus took the title son of Hadad. From the archaeological record a stela erected by Bar-Rakib for his father Panammuwa II contains similar language. The son of Panammuwa II a king of Sam'al referred to himself as a son of Rakib. Rakib-El is a god who appears in Phoenician and Aramaic inscriptions. Panammuwa II died unexpectedly while in Damascus. However, his son the king Bar-Rakib was not a native of Damascus but rather the ruler of Sam'al it is unknown if other rules of Sam'al used similar language.


title: Son of God

text: In Greek mythology, Heracles (son of Zeus) and many other figures were considered to be sons of gods through union with mortal women. From around 360 BC onwards Alexander the Great may have implied he was a demigod by using the title "Son of Ammon–Zeus".


title: Son of God

text: In 42 BC, Julius Caesar was formally deified as "the divine Julius" ("divus Iulius") after his assassination. His adopted son, Octavian (better known as Augustus, a title given to him 15 years later, in 27 BC) thus became known as "divi Iuli filius" (son of the divine Julius) or simply "divi filius" (son of the god). As a daring and unprecedented move, Augustus used this title to advance his political position in the Second Triumvirate, finally overcoming all rivals for power within the Roman state.


title: Son of God

text: The word which was applied to Julius Caesar when he was deified was "divus", not the distinct word "deus". Thus, Augustus called himself "Divi filius", not "Dei filius". The line between been god and god-like was at times less than clear to the population at large, and Augustus seems to have been aware of the necessity of keeping the ambiguity. As a purely semantic mechanism, and to maintain ambiguity, the court of Augustus sustained the concept that any worship given to an emperor was paid to the "position of emperor" rather than the person of the emperor. However, the subtle semantic distinction was lost outside Rome, where Augustus began to be worshiped as a deity. The inscription DF thus came to be used for Augustus, at times unclear which meaning was intended. The assumption of the title "Divi filius" by Augustus meshed with a larger campaign by him to exercise the power of his image. Official portraits of Augustus made even towards the end of his life continued to portray him as a handsome youth, implying that miraculously, he never aged. Given that few people had ever seen the emperor, these images sent a distinct message.


title: Son of God

text: Later, Tiberius (emperor from 14 to 37 AD) came to be accepted as the son of "divus Augustus" and Hadrian as the son of "divus Trajan". By the end of the 1st century, the emperor Domitian was being called "dominus et deus" (i.e. "master and god").


title: Son of God

text: Outside the Roman Empire, the 2nd-century Kushan King Kanishka I used the title "devaputra" meaning "son of God".


title: Son of God

text: In the writings of the Baháʼí Faith, the term "Son of God" is applied to Jesus, but does not indicate a literal physical relationship between Jesus and God, but is symbolic and is used to indicate the very strong spiritual relationship between Jesus and God and the source of his authority. Shoghi Effendi, the head of the Baháʼí Faith in the first half of the 20th century, also noted that the term does not indicate that the station of Jesus is superior to other prophets and messengers that Baháʼís name Manifestation of God, including Buddha, Muhammad and Baha'u'llah among others. Shoghi Effendi notes that, since all Manifestations of God share the same intimate relationship with God and reflect the same light, the term Sonship can in a sense be attributable to all the Manifestations.


title: Son of God

text: In Christianity, the title "Son of God" refers to the status of Jesus as the divine son of God the Father. It derives from several uses in the New Testament and early Christian theology. The term is used in all four gospels, the Acts of the Apostles, and the Pauline and Johannine literature.


title: Son of God

text: Another interpretation stems from the Judaic understanding of the title, which describes all human beings as being Sons of God. In parts of the Old Testament, historical figures like Jacob and Solomon are referred to as Sons of God, referring to their descent from Adam. Biblical scholars use this title as a way of affirming Jesus' humanity, that he is fully human as well as fully God.


title: Son of God

text: In Islam, Jesus is known as "Īsā ibn Maryam" (), and is understood to be a prophet and messenger of God (Allah) and "al-Masih", the Arabic term for Messiah (Christ), sent to guide the Children of Israel ("banī isrā'īl" in Arabic) with a new revelation, the "al-Injīl" (Arabic for "the gospel").


title: Son of God

text: Islam rejects any kinship between God and any other being, including a son. Thus, rejecting the belief that Jesus is the begotten son of God, God himself or another god. As in Christianity, Islam believes Jesus had no earthly father. In Islam Jesus is believed to be born due to the command of God "be". God ordered the angel Jibrīl (Gabriel) to "blow" the soul of Jesus into Mary and so she gave birth to Jesus.


title: Son of God

text: Although references to "sons of God", "son of God" and "son of the " are occasionally found in Jewish literature, they never refer to physical descent from God. There are two instances where Jewish kings are figuratively referred to as a god. The king is likened to the supreme king God. These terms are often used in the general sense in which the Jewish people were referred to as "children of the your God".


title: Son of God

text: When it was used by the rabbis, the term referred to Israel in particular or it referred to human beings in general, it was not used as a reference to the Jewish mashiach. In Judaism the term "mashiach" has a broader meaning and usage and can refer to a wide range of people and objects, not necessarily related to the Jewish eschaton.


title: Son of God

text: Gabriel's Revelation, also called the Vision of Gabriel or the Jeselsohn Stone, is a three-foot-tall (one metre) stone tablet with 87 lines of Hebrew text written in ink, containing a collection of short prophecies written in the first person and dated to the late 1st century BC. It is a tablet described as a "Dead Sea scroll in stone".


title: Son of God

text: The text seems to talk about a messianic figure from Ephraim who broke evil before righteousness by three days. Later the text talks about a “prince of princes" a leader of Israel who was killed by the evil king and not properly buried. The evil king was then miraculously defeated. The text seems to refer to Jeremiah Chapter 31. The choice of Ephraim as the lineage of the messianic figure described in the text seems to draw on passages in Jeremiah, Zechariah and Hosea. This leader was referred to as a son of God.


title: Son of God

text: The text seems to be based on a Jewish revolt recorded by Josephus dating from 4 BC. Based on its dating the text seems to refer to Simon of Peraea, one of the three leaders of this revolt.


title: Son of God

text: In some versions of Deuteronomy the Dead Sea Scrolls refer to the sons of God rather than the sons of Israel, probably in reference to angels. The Septuagint reads similarly.


title: Son of God

text: 4Q246 refers to a figure who will be called the son of God and son of the Most High. It is debated if this figure represents the royal messiah, a future evil gentile king or something else.


title: Son of God

text: In 11Q13 Melchizedek is referred to as god the divine judge. Melchizedek in the bible was the king of Salem. At least some in the Qumran community seemed to think that at the end of days Melchizedek would reign as their king. The passage is based on Psalm 82.


title: Son of God

text: In both Joseph and Aseneth and the related text The Story of Asenath, Joseph is referred to as the son of God. In the Prayer of Joseph both Jacob and the angel are referred to as angels and the sons of God.


title: What a Cartoon!

text: What a Cartoon! (later known as The What a Cartoon! Show and The Cartoon Cartoon Show) is an American animated anthology series created by Fred Seibert for Cartoon Network. The shorts were produced by Hanna-Barbera Productions; by the end of the run, a Cartoon Network Studios production tag was added to some shorts to signal they were original to the network. The project consisted of 48 cartoons, intended to return creative power to animators and artists, by recreating the atmospheres that spawned the iconic cartoon characters of the mid-20th century. Each of the shorts mirrored the structure of a theatrical cartoon, with each film being based on an original storyboard drawn and written by its artist or creator. Three of the cartoons were paired together into a half-hour episode.


title: What a Cartoon!

text: "What a Cartoon!" premiered under the "World Premiere Toons" title on February 20, 1995. The premiere aired alongside a special episode of Cartoon Network's "Space Ghost Coast to Coast" called "World Premiere Toon-In", which features interviews with animators Craig McCracken, Pat Ventura, Van Partible, Eugene Mattos, Genndy Tartakovsky, and Dian Parkinson. During the original run of the shorts, the series was retitled to "The What a Cartoon! Show" and later to "The Cartoon Cartoon Show" until the final shorts aired on August 23, 2002.


title: What a Cartoon!

text: The series is influential for helping to revive television animation in the 1990s and serving as a launching point for the Cartoon Network animated television series "Dexter's Laboratory", "Johnny Bravo", "Courage the Cowardly Dog", "Cow and Chicken", "I Am Weasel", and "The Powerpuff Girls". Once it had several original shorts, those became the first Cartoon Cartoons. Following Fred Seibert's departure in 1997, Sam Register took control of the show in 1998, and by 2000, rebranded it into "The Cartoon Cartoon Show", with more Cartoon Network originals being spawned from the showcase, including "Sheep in the Big City", "Grim & Evil" (consisting of "The Grim Adventures of Billy & Mandy" and "Evil Con Carne"), "Whatever Happened to... Robot Jones?", "", and "Megas XLR". From 2005 to 2008, "The Cartoon Cartoon Show" was revived as a block for reruns of older Cartoon Cartoons that had been phased out by the network.


title: What a Cartoon!

text: Fred Seibert became president of Hanna-Barbera Cartoons in 1992 and helped guide the struggling animation studio into its greatest output in years with shows like "2 Stupid Dogs" and "". Seibert wanted the studio to produce short cartoons, in the vein of the Golden age of American animation. Although a project consisting of 48 shorts would cost twice as much as a normal series, Seibert's pitch to Cartoon Network involved promising 48 chances to "succeed or fail", opened up possibilities for new original programming, and offered several new shorts to the thousands already present in the Turner Entertainment library. According to Seibert, quality did not matter much to the cable operators distributing the struggling network, they were more interested in promising new programs.


title: What a Cartoon!

text: With Turner Broadcasting CEO Ted Turner and Seibert's boss Scott Sassa on board, the studio fanned out across the world to spread the word that the studio was in an "unprecedented phase", in which animators had a better idea what cartoons should be than executives and Hanna-Barbera supported them. The company started taking pitches in earnest in 1993 and received over 5,000 pitches for the 48 slots. The diversity in the filmmakers included those from


title: What a Cartoon!

text: various nationalities, race, and gender. Seibert later described his hope for an idealistic diversity as "The wider the palette of creative influences, the wider and bigger the audiences."


title: What a Cartoon!

text: Seibert's idea for the project was influenced heavily by "Looney Tunes". Hanna-Barbera founders and chairmen William Hanna and Joseph Barbera, as well as veteran animator Friz Freleng, taught Seibert how the shorts of the Golden Age of American animation were produced. John Kricfalusi, creator of "The Ren & Stimpy Show", became a teacher of sorts for Seibert and was the first person Seibert called while looking for new talent for the project.


title: What a Cartoon!

text: As was the custom in live action film and television, the company did not pay each creator for the storyboard submitted and pitched. For the first time in the studio's history, individual creators could retain their rights, and earn royalties on their creations. While most in the industry scoffed at the idea, encouragement, according to Seibert, came from the cartoonists who flocked to Hanna-Barbera with original ideas.


title: What a Cartoon!

text: The format for "What a Cartoon!" was ambitious, as no one had ever attempted anything similar in the television animation era. The shorts produced would be a product of the original cartoonists' vision, with no executive intervention: for example, even the music would be an individually crafted score. Each 7-minute short would debut, by itself, as a stand-alone cartoon or a stand-alone series on Cartoon Network. Three of the 7-minute cartoons are paired together into a half-hour episode. Seibert explained the project's goal in a 2007 blog post: "We didn’t care what the sitcom trends were, what Nickelodeon was doing, what the sales departments wanted. [...] We wanted cartoons."


title: What a Cartoon!

text: The "What a Cartoon!" staff had creators from Europe (Bruno Bozzetto), Asia (Achiu So), and the United States (Jerry Reynolds and colleague Seth MacFarlane). The crew also contained young series first-timers (like Genndy Tartakovsky, Craig McCracken, Rob Renzetti, Butch Hartman, and John R. Dilworth), but veterans as well (like Don Jurwich, Jerry Eisenberg, and Ralph Bakshi). In addition to the veterans, William Hanna and Joseph Barbera each produced two shorts each for "What a Cartoon!". Many of the key crew members from previous Hanna-Barbera series "2 Stupid Dogs" joined the team of "What a Cartoon!" as well.


title: What a Cartoon!

text: Many of its crew members later went on to write and direct for "Dexter's Laboratory", "Johnny Bravo", "Cow and Chicken", "I Am Weasel", and "The Powerpuff Girls", including those named above. "The Kitchen Casanova" director John McIntyre is particularly known for directing several "Dexter" episodes. Ralph Bakshi's series ("Malcom and Melvin") was considered too risqué to be shown. It has been rumored that John Kricfalusi was slated to direct several new "What a Cartoon!" shorts of his own (produced by his production company, Spümcø). However, both "Yogi Bear"-influenced cartoons were commissioned separately by Seibert, and instead premiered as their own: "Boo Boo Runs Wild" and "A Day in the Life of Ranger Smith" both premiered in 1999.


title: What a Cartoon!

text: Inspired by Seibert's interest in the modern rock posters of Frank Kozik, each of the shows' creators worked with the internal Hanna-Barbera Creative Corps creative director Bill Burnett, and senior art director Jesse Stagg, to craft a series of high quality, limited edition, fluorescent art posters. The Corps launched a prolonged guerrilla mailing campaign, targeting animation heavyweights and critics leading up to the launch of "World Premiere Toons". The first poster campaign of its kind introduced the world to the groundbreaking new stable of characters.


title: What a Cartoon!

text: The first cartoon from the "What a Cartoon!" project broadcast in its entirety was "The Powerpuff Girls in "Meat Fuzzy Lumkins"", which made its world premiere on Monday, February 20, 1995, during a television special called the "World Premiere Toon-In" (termed "President's Day Nightmare" by its producers, Williams Street). The special was hosted by Space Ghost and the cast of "Space Ghost Coast to Coast", and featured comic interviews and a mock contest with the creators of the various cartoons. The Toon-In was simulcast on Cartoon Network, TBS Superstation, and TNT. To promote the shorts, Cartoon Network's marketing department came up with the concept of "Dive-In Theater" in 1995 to showcase the 48 cartoon shorts. The cartoons were shown at water parks and large municipal swimming pools, treating kids and their parents to exclusive poolside screenings on 9' x 12' movie screens.


title: What a Cartoon!

text: Beginning February 26, 1995, each "What a Cartoon!" short began to premiere on Sunday nights, promoted as "World Premiere Toons". Every week after the premiere, Cartoon Network showcased a different World Premiere Toons made by a different artist. After an acclimation of cartoons, the network packaged the shorts as a half-hour show titled "World Premiere Toons: The Next Generation", featuring reruns of the original shorts but also new premieres.


title: What a Cartoon!

text: Eventually, all of the cartoons were compiled into one program which was used the name "World Premiere Toons: The Show" until the summer of 1996 when it started bearing the name of the original project: "The What a Cartoon! Show". The show's initial premieres for each short preceded Cartoon Network's Sunday night movie block, "Mr. Spim's Cartoon Theatre". The shorts continued to air on Sundays until 1997, when the network moved the shorts to Wednesdays at 9pm. Following the premiere of "Johnny Bravo" and "Cow and Chicken" as full series in July 1997, the series shifted to Thursday nights, where it remained.


title: What a Cartoon!

text: "The What a Cartoon! Show" continued airing new episodes on Thursdays until November 28, 1997, when the final short of the 48 contracted during Seibert's era aired. In 1998, Cartoon Network debuted two new short pilots and advertised them as "World Premiere Toons": "Mike, Lu & Og" and "Kenny and the Chimp", both of which were produced by outside studios and produced after Time Warner's acquisition of Turner Broadcasting in 1996. The two pilots were later compiled into "The Cartoon Cartoon Show", while both shorts eventually garnered their own series, "Mike, Lu & Og" in 1999 and "" in 2002. Two pilots entitled "King Crab: Space Crustacean" and "Thrillseekers", respectively dated 1999 and 2000, was also retconned into "The Cartoon Cartoon Show" anthology.


title: What a Cartoon!

text: On June 9, 2000, "The What a Cartoon! Show" was relaunched as "The Cartoon Cartoon Show". In this new format, it aired reruns and new episodes of the full-series Cartoon Cartoons, as well as new Cartoon Cartoon shorts and old "WAC!" shorts. From 2000 to 2001, the pilot shorts appearing on the network's viewer's poll that lost to "The Grim Adventures of Billy & Mandy" and "" (except for "Whatever Happened to... Robot Jones?") were added to the anthology. The show continued to air until October 16, 2003, when it was temporarily dropped from the network's schedule.


title: What a Cartoon!

text: On September 12, 2005, "The Cartoon Cartoon Show" was revived, this time as a half-hour program featuring segments of older Cartoon Cartoons that were no longer shown regularly on the network, such as "Cow and Chicken", "I Am Weasel", and others. Some Cartoon Cartoons were moved exclusively to this show and the Top 5, though there was also some overlap with shows that already had regular half-hour slots outside the series. In 2006, the programming was expanded to also include non-Cartoon Cartoons that "were" regularly shown on the network, such as "Foster's Home for Imaginary Friends", "Camp Lazlo", "My Gym Partner's a Monkey", and "Squirrel Boy". The show ended on June 21, 2008.


title: What a Cartoon!

text: In 2007, reruns of "What a Cartoon!" played briefly on Cartoon Network's retro animation sister channel, Boomerang.


title: What a Cartoon!

text: "What a Cartoon!" is the first short cartoon incubator created by Fred Seibert. Starting with "What a Cartoon!" and continuing throughout his cartoon career, his Frederator Studios has persisted in the tradition of surfacing new talent, characters, and series with several cartoon shorts "incubators," including (as of 2016): "What a Cartoon!" (Cartoon Network, 1995), Nickelodeon/Nicktoons' own "Oh Yeah! Cartoons" (1998), "Nicktoons Film Festival" (2004), "Random! Cartoons" (2008), "The Meth Minute 39" (Channel Frederator, 2008), "The Cartoonstitute" (Cartoon Network, 2009/unfinished), "Too Cool! Cartoons" (Cartoon Hangover, 2012), and "GO! Cartoons" (Cartoon Hangover, 2016). These laboratories have spun off notable series like: "Dexter's Laboratory", "The Powerpuff Girls", "Johnny Bravo", "Cow & Chicken", "Family Guy", "Courage the Cowardly Dog", "Samurai Jack", "The Grim Adventures of Billy & Mandy", "", "The Fairly OddParents", "My Life as a Teenage Robot", "Nite Fite", "The Mighty B!", "Fanboy & Chum Chum", "Adventure Time", "Regular Show", "Bravest Warriors", "Secret Mountain Fort Awesome", "Gravity Falls", "Bee and PuppyCat", and "Uncle Grandpa".


title: What a Cartoon!

text: "Dexter's Laboratory" was the most popular short series according to a vote held in 1995 and eventually became the first spin-off of "What a Cartoon!" in 1996. Two more series based on shorts, "Johnny Bravo" and "Cow and Chicken", premiered in 1997, and "The Powerpuff Girls" became a weekly half-hour show in 1998. "Courage the Cowardly Dog" (spun off from the Oscar-nominated short "The Chicken from Outer Space") followed as the final spin-off in 1999. In addition, the "Cow and Chicken" short "I Am Weasel" eventually was also spun off into a separate series: in all, six cartoon series were ultimately launched by the "What a Cartoon!" project, any one of which earned enough money for the company to pay for the whole program. In addition to the eventual spin-offs, the "What a Cartoon!" short "Larry and Steve" by Seth MacFarlane featured prototypes of characters that would later go on to become MacFarlane's massively successful "Family Guy".


title: What a Cartoon!

text: The "What a Cartoon!" project and its assorted spin-offs brought Cartoon Network more commercial and critical success, and the network became an animation industry leader as the 1990s drew to a close. In 2001, coinciding with the death of William Hanna, Hanna-Barbera Productions absorbed into Warner Bros. Animation and Cartoon Network opened its own production arm, Cartoon Network Studios, in Burbank, as the rightful Hanna-Barbera successor to produce original programming for the network and future projects. Two "What a Cartoon!" shorts, "Wind-Up Wolf" and "Hard Luck Duck", were the last cartoon shorts directed and produced by co-founder and co-chairman William Hanna. In addition, "What a Cartoon!" and spin-offs were the final original productions released by Hanna-Barbera.


title: What a Cartoon!

text: Creator of "The What a Cartoon! Show", Fred Seibert, left Hanna-Barbera in late 1996 to open up his own studio, Frederator Studios, and has persistently continued in the tradition of surfacing new talent, characters, and series with similar shorts "incubators", including (as of 2015) "Oh Yeah! Cartoons" (Nickelodeon, 1998), "Nicktoons Film Festival" (Nickelodeon, 2004), "The Meth Minute 39" (Channel Frederator, 2008), "Random! Cartoons" (Nickelodeon/Nicktoons, 2008), "Too Cool! Cartoons" (Cartoon Hangover, 2012), and "GO! Cartoons" (Cartoon Hangover, 2016). "Oh Yeah! Cartoons" showcased "What a Cartoon!" alumni (Butch Hartman, Rob Renzetti) and launched several successful Nickelodeon series, including "The Fairly OddParents", "ChalkZone" and "My Life as a Teenage Robot". Frederator Studios also launched an animation film festival, "Nicktoons Film Festival" from 2004 to 2009; only to have "The Mighty B!" greenlit as a series based on the "Super Scout" short; though one short from Alex Hirsch would later go on to make "Gravity Falls" for Disney Channel/Disney XD. The studio launched another animation showcase in 2006, titled "Random! Cartoons", which in turn produced Nickelodeon's "Fanboy & Chum Chum" in 2009, Cartoon Network's "Adventure Time" in 2010, and Cartoon Hangover's "Bravest Warriors" in 2012.


title: What a Cartoon!

text: A sequel-of-sorts to the "What a Cartoon!" project, a Cartoon Network project titled "The Cartoonstitute", was announced on April 3, 2008. Created by the channel executive Rob Sorcher and headed by "The Powerpuff Girls" creator Craig McCracken and "My Life as a Teenage Robot" creator Rob Renzetti, the project was to "establish a think tank and create an environment in which animators can create characters and stories", and also create new possible Cartoon Network series. However, the project was eventually scrapped as a result of the late 2000s recession and only 14 of the 39 planned were completed. Nevertheless, J. G. Quintel's "Regular Show" short and Peter Browngardt's "Secret Mountain Fort Awesome" were greenlit to become full series. A recurring character on the show, Uncle Grandpa, would get his own series two years later. The Big Cartoon DataBase cites "What a Cartoon!" as a "venture combining classic 1940s production methods with the originality, enthusiasm and comedy of the 1990s".