title: All Out (2019)

text: Nick Tylwalk of "Slam! Sports" rated the event 7.75 out of 10. Tylwalk wrote that the event proved that AEW has "enough talent on the roster to pull off a number of highly entertaining matches on any big card", with "several big time performances" at All Out boosted by a "stellar, consistently engaged crowd". However, "AEW has yet to find its hook" to distinguish itself from WWE. The storytelling was also a bit lacking. Dark Order versus Best Friends was the worst match on the main card for Tylwalk, who rated it 5 out of 10. SoCal Uncensored versus Jurassic Express was rated 7.5, as well the triple threat match as the second lowest rated matches. The ladder match was the best rated at 9.5.


title: All Out (2019)

text: Two days after the event, it was reported by the Tallahassee Police Department that the AEW World Championship belt was legitimately stolen from Chris Jericho's limousine while he was eating dinner at a LongHorn Steakhouse. The following day, Jericho launched a "worldwide investigation" on his Instagram account and on all of AEW's social media accounts. On Wednesday, however, Tallahassee Police confirmed they had recovered the championship belt, posting a picture on Facebook of one of their officers holding the title. Jericho was then scheduled to defend the title against Cody at Full Gear due to Cody's singles match win/loss/draw record.


title: All Out (2019)

text: On September 4, Kenny Omega and Jon Moxley's originally scheduled match for All Out was rescheduled for Full Gear.


title: All Out (2019)

text: During Adam Page's post-event interview, he was interrupted by Pac, who said that he had returned to AEW to get revenge on Page. A match between the two was then scheduled for the debut episode of AEW's new weekly show "Dynamite" on October 2; a match that was originally scheduled for Double or Nothing.


title: All Out (2019)

text: In November 2020, AEW President and CEO Tony Khan referred to All Out as being one of AEW's "Big Four" PPVs, which includes Double or Nothing, Full Gear, and Revolution, their four biggest shows produced quarterly. The inaugural All Out was the second of these shows produced.


title: All Out (2019)

text: Five wrestlers started the match. Every three minutes, five more wrestlers entered. The 21st and final entrant entered alone.


title: Riff

text: A riff is a repeated chord progression or refrain in music (also known as an ostinato figure in classical music); it is a pattern, or melody, often played by the rhythm section instruments or solo instrument, that forms the basis or accompaniment of a musical composition. Though riffs are most often found in rock music, heavy metal music, Latin, funk, and jazz, classical music is also sometimes based on a riff, such as Ravel's Boléro. Riffs can be as simple as a tenor saxophone honking a simple, catchy rhythmic figure, or as complex as the riff-based variations in the head arrangements played by the Count Basie Orchestra.


title: Riff

text: David Brackett (1999) defines riffs as "short melodic phrases", while Richard Middleton (1999) defines them as "short rhythmic, melodic, or harmonic figures repeated to form a structural framework". Rikky Rooksby states: "A riff is a short, repeated, memorable musical phrase, often pitched low on the guitar, which focuses much of the energy and excitement of a rock song."


title: Riff

text: BBC Radio 2, in compiling its list of 100 Greatest Guitar Riffs, defined a riff as the “main hook of a song”, often beginning the song, and is “repeated throughout it, giving the song its distinctive voice”.


title: Riff

text: Use of the term has extended to comedy, where "riffing" means the verbal exploration of a particular subject, thus moving the meaning away from the original jazz sense of a repeated figure that a soloist improvises over, to instead indicate the improvisation itself—improvising on a melody or progression as one would improvise on a subject by extending a singular thought, idea or inspiration into a "bit", or "routine".


title: Riff

text: The term "riff" entered musical slang in the 1920s (Rooksby, ibid, p. 6) and is used primarily in discussion of forms of rock music or jazz. "Most rock musicians use "riff" as a near-synonym for "musical idea"" (Middleton 1990, p. 125).


title: Riff

text: The etymology of the term is not clearly known. Some sources explain "riff" as an abbreviation for "rhythmic figure" or "refrain".


title: Riff

text: In jazz, blues and R&B, riffs are often used as the starting point for longer compositions. Charlie Parker used riff on "Now's the Time". Blues guitarist John Lee Hooker used riff on "Boogie Chillen" in 1948.


title: Riff

text: The riff from Charlie Parker's bebop number "Now's the Time" (1945) re-emerged four years later as the R&B dance hit "The Hucklebuck". The verse of "The Hucklebuck", which was another riff, was "borrowed" from the Artie Matthews composition "Weary Blues". Glenn Miller's "In the Mood" had an earlier life as Wingy Manone's "Tar Paper Stomp". All these songs use twelve-bar blues riffs, and most of these riffs probably precede the examples given (Covach 2005, p. 71).


title: Riff

text: In classical music, individual musical phrases used as the basis of classical music pieces are called ostinatos or simply phrases. Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin jazz.


title: Riff

text: The term "riff-driven" is used to describe a piece of music that relies on a repeated instrumental riff as the basis of its most prominent melody, cadence, or (in some cases) leitmotif. Riff-driven songs are largely a product of jazz, blues, and post-blues era music (rock and pop). The musical goal of riff-driven songs is akin to the classical "continuo" effect, but raised to much higher importance (in fact, the repeated riff is used to anchor the song in the ears of the listener). The riff/continuo is brought to the forefront of the musical piece and often is the primary melody that remains in the listener's ears. A "call and response" often holds the song together, creating a "circular" rather than linear feel.


title: Riff

text: A few examples of riff-driven songs are "Whole Lotta Love" and "Black Dog" by Led Zeppelin, "Day Tripper" by The Beatles, "Brown Sugar" and "(I Can't Get No) Satisfaction" by The Rolling Stones, "Smoke on the Water" by Deep Purple, "Back in Black" by AC/DC, "Smells Like Teen Spirit" by Nirvana, "Johnny B Goode" by Chuck Berry, "Back in the Saddle" by Aerosmith, and "You Really Got Me" by The Kinks.


title: Gully Rowdy

text: Gully Rowdy is a 2021 Indian Telugu-language romantic action comedy film directed by G. Nageswara Reddy. Produced by Kona Venkat, M. V. V. Satyanarayana under Kona Film Corporation and MVV Cinemas, the film features Sundeep Kishan, Neha Shetty, Rajendra Prasad in primary roles. The music was composed by Sai Karthik–Ram Miriyala. It was released on 17 September 2021.


title: Gully Rowdy

text: This movie is shot in the city of Vizag, where Vasu and Head-constable Pattapagalu Venkatrao are seen on the beach, pointed with a gun by CI Raghu Nayak. Vasu rewinds his memories and it is found that he is a topper in his childhood. But his grandfather, Meesala Simhachalam, is a rowdy who makes settlements for the good of the people. This irritates Bairagi Naidu, whose plan is to take over Vizag in his hands. For this reason, Bairagi makes many land settlements, which makes Simhachalam very angry, but cannot do anything as his power is more than Simachalam's power. Then, Naidu suggests Simhachalam that make his grandson rowdy, because his son has died in a car accident. This frustrates Vasu but accepts for his grandfather's sake.


title: Gully Rowdy

text: After years of training, he is said that he has become rowdy and ready to do settlements like his grandfather. He falls in love with a software employee, Sahitya, who is the daughter of Venkatrao. The family of Venkatrao is a middle-class family and Venkatrao cannot afford his son's higher studies and his daughter's marriage. Soon they hear that his land was to be purchased by someone for 2cr. But this land is being occupied by Bairagi Naidu. Venkatrao then asks Naidu about his land, but he ended with only 50k, and torture kept by Bairagi Naidu's son Nanda. Vasu knows that Sahitya's family is in a trouble and tries to help them. Vasu and Venkatrao's family help in kidnapping Bairagi and taking the money from him. While doing so, they are unfortunately caught by Bairagi, but someone shoots Bairagi to death. Taking advantage they take the money from Bairagi and run away in a hurry, leaving some pieces of evidence. CI Raghu Nayak, who has been suspended due to his reckless behavior, is being joined by the command of the officials. He collected the proofs like Sahitya's shoe, fingerprints, spectacles, and some hair and were handed to the forensic lab.


title: Gully Rowdy

text: Meanwhile, Simhachalam learns that Bairagi Naidu isn't killed by Vasu and becomes upset. Venkatrao's family and Vasu discover Raghu Nayak is the son of the second wife of Bairagi Naidu, which is a secret nobody knows. Venkatrao tries to manipulate the pieces of evidence at the forensic lab but Nayak learns that Vasu killed his father and arrests him and Venkatrao has a hand in this murder. Nanda catches Venkatrao's family and blackmails Vasu.


title: Gully Rowdy

text: In the present, it is seen that Vasu and Venkatrao are about to be shot, but Vasu escapes from Nayak and says him that Nanda had killed his father. Vasu, Nayak, and Venkatrao go to Nanda and Vasu rescues Venkatrao's family. Nanda is shot dead by Raghu Nayak and he still thinks that Nanda had killed his father, but it is Vasu who killed Naidu but keeps it a secret. Vasu even knows that his father did not die in an accident, instead that accident is done by Bairagi Naidu. As Vasu's truth later spills out in front of his family, he is asked why he is not taking credit for the murder. He speaks about his reluctance about being rowdy and that he eliminated Bairagi as he was a menace to society. Realizing his foolish ways, Vasu's grandfather gives Vasu his blessings to lead his life the way Vasu wants it. The movie ends with Vasu and Sahitya getting engaged.


title: Gully Rowdy

text: After collaborating for "Tenali Ramakrishna BA. BL", director Nageswara Reddy and actor Sandeep Kishan are working together again, for the film. Sandeep is playing a small-time gangster in the film. The film was officially launched on 16 December 2020 in Vizag, with a pooja ceremony and muhurtam shot done. Principal photography also began on the same day in Vizag. The team filmed for 63 days, as part of its first schedule. Filming took place in Visakhapatnam and Hyderabad. The team wrapped up the filming in June 2021. In an interview to "Deccan Chronicle", G. Nageswara Reddy said that "Gully Rowdy is a sitcom on rowdyism", adding: "Although there are action elements, the film is narrated in a comical way. The protagonist is under an obligation to carry on the rowdyism legacy. But he doesn’t like it, so what he does to keep the legacy going and handle his love is hilariously presented".


title: Gully Rowdy

text: The music was composed by Sai Karthik and Ram Miriyala. All lyrics are written by Bhaskarabhatla. The music was released by Mango Music Company. The first single track "Puttene Prema" corned and composed by Ram Miriyala was released on 7 May 2021. The second track "Changure Item Songree" sung by Mangli and composed by Sai Karthik was released on 22 July 2021.


title: Gully Rowdy

text: Initially, it was reported that the film will be premiered (released) in a direct-to-video mode on a over-the-top media service. Later, Sundeep Kishan confirmed that the film will be released only in the movie theaters. The film was initially scheduled for a theatrical release on 21 May 2021, it was postponed to 3 September 2021. Later, it was again rescheduled to release on 17 September 2021.


title: Roberto Saviano

text: Roberto Saviano (; born September 22, 1979) is an Italian writer, essayist, journalist, and screenwriter. In his writings, including articles and his book "Gomorrah", he uses literature and investigative reporting to tell of the economic reality of the territory and business of organized crime in Italy, in particular the Camorra crime syndicate, and of organized crime more generally.


title: Roberto Saviano

text: After receiving death threats in 2006 made by the Casalesi clan of the Camorra, a clan which he had denounced in his exposé and in the piazza of Casal di Principe during a demonstration in defense of legality, Saviano was put under a strict security protocol. Since October 13, 2006, he has lived under police protection.


title: Roberto Saviano

text: Saviano has collaborated with numerous important Italian and international newspapers. Currently, he writes for the Italian publications "l'Espresso", "la Repubblica", and "The Post Internazionale". Internationally, he collaborates in the United States with "The Washington Post", "The New York Times", and "Time"; in Spain with "El Pais"; in Germany with "Die Zeit" and "Der Spiegel"; in Sweden with "Expressen"; and in the United Kingdom with "The Times" and "The Guardian".


title: Roberto Saviano

text: His writing has drawn praise from many important writers and other cultural figures, such as Umberto Eco.


title: Roberto Saviano

text: Son of Luigi Saviano, a Neapolitan doctor, and Miriam Haftar, a Ligurian of Jewish origins, Roberto Saviano received his high school diploma from the Armando Diaz State Scientific High School and then graduated in philosophy from the University of Naples Federico II, where he was the student of historian Francesco Barbagallo. He began his career in journalism in 2002, writing for numerous magazines and daily papers, including "Pulp", ', ', ', the website ', and for the Camorra monitoring unit of the "". His articles at the time were already important enough to spur judicial authorities at the beginning of 2005 to listen to him regarding organized crime.


title: Roberto Saviano

text: In March 2006, he published "Gomorrah", a novel inspired by real events. He is the author, along with Mario Gelardi, of a theatrical work of the same name and is a screenwriter for "Gomorrah", the movie based on the novel. On December 10, 2009, in the presence of Nobel Prize winner Dario Fo, Saviano received the title of Honorary Member of the Academy of Fine Arts of Brera and the Second Level Academic Diploma Honoris Causa in Communication and Art Education, which is the highest degree given by the university. On January 22, 2011, the University of Genoa awarded him a bachelor's degree "honoris causa" in law "for the important contribution to the fight against crime and to the defense of legality in our country". Saviano dedicated the honor to the judges of Milan's district attorney's office who were investigating "Rubygate". This led to a controversy with Marina Berlusconi, daughter of Silvio Berlusconi and president of the publishing house Arnoldo Mondadori Editore.


title: Roberto Saviano

text: Saviano is primarily influenced by southern Italian intellectuals such as Giustino Fortunato and Gaetano Salvemini, by the anarchists Errico Malatesta and Mikhail Bakunin, and by poet Rocco Scotellaro. Additionally, he has said that his educational background includes many prominent writers such as Ernst Jünger, Ezra Pound, Louis Ferdinand Celine, Carl Schmitt, and Julius Evola.


title: Roberto Saviano

text: In 2015, Saviano collaborated with the Neapolitan playwright Mimmo Borrelli on the play "Sanghenapule – Vita straordinaria di San Gennaro", which was part of the 2015/2016 season of the Piccolo Teatro of Milan.


title: Roberto Saviano

text: In 2006, following the success of "Gomorrah", which denounces the activities of the Camorra, Saviano received ominous threats. These were confirmed by police informants and reports that revealed attempts on Saviano's life by the Casalesi clan. Investigators have claimed that the Camorra selected Casalesi clan boss Giuseppe Setola to kill Saviano.


title: Roberto Saviano

text: After the Neapolitan police investigations, the Italian Minister for Interior Affairs Giuliano Amato assigned Saviano a personal bodyguard and transferred him from Naples. In the fall of 2008, informant Carmine Schiavone, cousin of the imprisoned Casalesi clan boss Francesco Schiavone, revealed to the authorities that the clan had planned to eliminate Saviano and his police escort by Christmas on the motorway between Rome and Naples with a bomb; in the same period, Saviano announced his intention to leave Italy in order to stop having to live as a convict and reclaim his life.


title: Roberto Saviano

text: On October 20, 2008, six Nobel Prize-awarded authors and intellectuals (Orhan Pamuk, Dario Fo, Rita Levi-Montalcini, Desmond Tutu, Günter Grass, and Mikhail Gorbachev) published an article saying that they sided with Saviano against the Camorra. They also stated that the Italian government must protect Saviano's life and help him lead a normal life. Signatures were collected on the website of the Italian newspaper "La Repubblica."


title: Roberto Saviano

text: Saviano contributed an op-ed piece to the January 24, 2010 issue of the "New York Times", entitled "Italy's African Heroes" He wrote about the January 2010 riots between African immigrants and Italians in Rosarno, a town in Calabria. Saviano suggests that the rioting was more of a response to the migrants' exploitation by the 'Ndrangheta, or Calabrian mafia, than to the hostility of Italians.


title: Roberto Saviano

text: In November 2010, he hosted, along with Fabio Fazio, the Italian television program "Vieni via con me", which was broadcast over four weeks by Rai 3.


title: Roberto Saviano

text: Saviano's book, "" was published by Feltrinelli in 2013, and the English translation was published by Penguin Random House in July, 2015. This book is a study of the financial dealings around cocaine, covering its movement across continents and the role of drug money in international finance.


title: Roberto Saviano

text: In March 2006, Saviano's first book, "Gomorrah: A Personal Journey into the Violent International Empire of Naples' Organized Crime System", was published as part of Mondadori's Strade Blu series. It describes the business and criminal world of the Camorra and of the places where the organization was born and exists: the region of Campania, the city of Naples, the towns of Casal di Principe, San Cipriano d'Aversa, and the territory around Aversa known as the "agro aversano". Having grown up there, the author introduces the reader to a reality unknown to outsiders. The book talks about the criminal bosses' sumptuous villas copied from Hollywood films, rural lands filled with the toxic waste of half of Europe, and a population that not only cohabitates with organised crime but even protects it and approves of its actions.


title: Roberto Saviano

text: As of August 2009, the book had sold 2.5 million copies in Italy alone and was translated into 52 languages. In the rest of the world, about 2 million copies of "Gomorrah" were sold. It was present on bestseller lists in Germany, the Netherlands, Belgium, France, Sweden, Finland, Lithuania, Albania, Israel, Lebanon, and Austria.


title: Roberto Saviano

text: A stage show was based on "Gomorrah", earning Saviano the best actor of a new Italian play award at the Olimpici del Teatro/Theater Olympics in 2008. A film of the same name, directed by Matteo Garrone, was also created; it won the prestigious Grand Prix at the Cannes Film Festival in 2008. In 2009, the film won the Tonino Guerra Prize for best script at the Bari International Film Festival.


title: Roberto Saviano

text: A television show titled "Gomorrah - La serie" was produced by Sky Italia, Fandango, Cattleya, Beta Film, and LA7, under the supervision of Saviano and the direction of Stefano Sollima, Francesca Comencini, and Claudio Cupellini. It ran for five series, commencing in 2014 and concluding in 2021.


title: Roberto Saviano

text: In 2016, the same production crew began filming "ZeroZeroZero", an adaptation of Saviano's 2013 book of the same name about the international cocaine trade.


title: Roberto Saviano

text: The success of his book created numerous problems for Saviano, starting with threatening letters, silent phone calls, and protective isolation.


title: Roberto Saviano

text: During a demonstration for legality in Casal di Principe on September 23, 2006, the writer denounced the business of the leaders of the Casalese clan, Francesco Bidognetti and Francesco Schiavone (currently in prison), and the two ruling bosses at the time, Antonio Iovine and Michele Zagaria. He addressed them in robust tones ("You are not from this land! Quit being part of this land!") and invited residents to rebel. Because of the threats and intimidation Saviano received consequently, the then-Minister of the Interior, Giuliano Amato, decided to assign him police protection beginning on October 13, 2006.


title: Roberto Saviano

text: On March 14, 2008, during the Spartacus Trial, the attorney for Casalese bosses Francesco Bidognetti and Antonio Iovine, Michele Santonastaso (assisted by Carmine D'Aniello), read a letter written jointly by Bidognetti and Iovine (while both were in prison) to the president of the First Section of the Appellate Court of Assizes, Raimondo Romeres. The letter contained a request to move the trial due to "legittima suspicione", or doubt surrounding the impartiality of the judicial body, caused by the alleged influence of Roberto Saviano, Rosaria Capacchione, and the district attorneys Federico Cafiero de Raho and Raffaele Cantone, on the judges. Following this, Minister of the Interior Amato decided to strengthen security measures for the writer, increasing his police escort from three to five men. Bidognetti and Iovine, and their attorneys Michele Santonastaso and Carmine D'Aniello, were then charged with intimidation of Saviano and Capacchione. Before the third criminal section of the Court of Naples, the Assistant Prosecutor of the District Anti-Mafia Directorate (DDA), Antonello Ardituro, requested the maximum sentence on conviction of one year and six months imprisonment. The sentence was passed for Bidognetti, Santonastaso, and D'Aniello, while Iovine was acquitted due to insufficient proof. The attorney general for Reggio Calabria, Federico Cafiero de Raho, testified during the trial, stating that Saviano was a "mortal enemy of the clan" and recalling that Saviano was among the few journalists present at all 52 of the prosecutor's closing speeches for the Spartacus Trial.


title: Roberto Saviano

text: On October 14, 2008, reports emerged of a possible assassination plot against Saviano. A police inspector of the Milan Anti-Mafia Investigation Department DIA) informed the DDA that the pentito, Carmine Schiavone (cousin of boss Francesco Schiavone, aka Sandokan), had informed him of a plan, already in operation, to kill the writer and his bodyguards before Christmas through a spectacular attack on the highway between Rome and Naples, in the style of the assassination of anti-Mafia judge Giovanni Falcone at Capaci. However, when interrogated by magistrates, Schiavone denied any knowledge of the plan, provoking the writer's immediate response: "It's obvious that he'd say this; if he were to talk [about the plan], it would mean implicitly admitting to still having connections with organized crime". Subsequently, the district attorney heading the investigation requested and obtained dismissal of the case as the reports appeared to be unfounded, although Schiavone confirmed that Saviano had been condemned to death by the Casalese clan.


title: Roberto Saviano

text: In October 2008, Saviano decided to leave Italy for a time, as the result of threats, which were confirmed by reports and statements from informants, revealing a Casalesi clan plan to eliminate him.


title: Roberto Saviano

text: On October 20, 2008, six international Nobel Prize winners rallied in support of Roberto Saviano, asking the Italian government to do something to protect him and to defeat the Camorra, and emphasizing the fact that organized crime is not merely a problem for police that only concerns the writer, but is a problem for democracy that concerns all free citizens. The appeal concluded that citizens cannot tolerate the fact that the events described in Saviano's book are taking place in 2008 in Europe, just as they can't tolerate that the price one pays for denouncing these events means losing one's freedom and safety. The Nobel Prize winners who launched the appeal were: Dario Fo, Mikhail Gorbachev, Günter Grass, Rita Levi-Montalcini, Orhan Pamuk, and Desmond Tutu.


title: Roberto Saviano

text: The appeal was signed by writers including Jonathan Franzen, Javier Marías, Jonathan Safran Foer, Jonathan Lethem, Martin Amis, Chuck Palahniuk, Nathan Englander, Ian McEwan, Hans Magnus Enzensberger, José Saramago, Elfriede Jelinek, Wislawa Szymborska, Betty Williams, Lech Wałęsa, Paul Auster, Siri Hustvedt, Peter Schneider, Colum McCann, Patrick McGrath, Cathleen Shine, Junot Diaz, Tahar Ben Jelloun, Taslima Nasreen, Caro Llewelyn, Ingrid Betancourt, Adam Michnik, and Claudio Magris. Foreign media—from "El País" to "Le Nouvel Observateur" and from "Courrier International" to Al Arabiya and CNN—also spread the initiative.


title: Roberto Saviano

text: Following this, various radio stations opened up to debates and comments on the subject. The program "Fahrenheit" on Italy's Rai Radio 3 organized a marathon reading of "Gomorrah" in which celebrities from the world of culture, news, theater, and civil society participated. Numerous Italian cities also offered honorary citizenship to the writer, while many schools subscribed to the appeal. The Casa della Memoria e della Storia ("House of Memory and History") in Rome hosted an eight-hour choral reading of "Gomorrah".


title: Roberto Saviano

text: In addition to the signatures of the six prominent figures, normal citizens were able to sign the appeal on a special page created by the newspaper "La Repubblica". More than 250,000 signatures were collected.


title: Roberto Saviano

text: In October 2009, the head of the Rapid Response Team of Naples, Vittorio Pisani, questioned the need for a security detail to protect Roberto Saviano, maintaining that the death threats had not been confirmed. In 2008, the director Pasquale Squitieri also cast doubt on the appropriateness of the security detail. According to him, Saviano went to the Cannes Film Festival "probably to put on a bit of a show" and "those who are really targets have bodyguards, of course, but they are also prohibited from flying on [commercial] planes and frequenting public places because they could put themselves and others in danger." Squitieri's declarations triggered a controversy between the two of them, and the producer of the film "Gomorrah", Domenico Procacci, intervened, calling Squitieri's declarations "despicable."


title: Roberto Saviano

text: The head of police, Antonio Manganelli, replied by reaffirming the need for bodyguards. Furthermore, the head DA for the Anti-Mafia Office of Naples, Federico Cafiero de Raho, declared that Saviano is exposed to a high risk and, therefore, requires protection . The district attorneys Raffaele Cantone and Franco Roberti, both magistrates with years of experience on the front lines fighting against the clans, reiterated Saviano's dangerous situation. Journalist Giuseppe D'Avanzo wrote a piece for "La Repubblica", requesting the resignation of the head of the Rapid Response Team for his declarations.


title: Roberto Saviano

text: Saviano replied in an article for "La Repubblica", denouncing the attempt to isolate him and to cause the "disintegration" of the public's solidarity with him, comparing his case with those of Peppino Impastato, Giuseppe Fava, and Giancarlo Siani. Following Pisani's initiatives, Saviano had to "exhibit, as requested, the real cause of the threats."


title: Roberto Saviano

text: On May 19, 2014, Pisani, testifying during the trial of the Casalesi bosses and their lawyers, who had used an "istanza di remissione" (request for remission) to threaten Saviano and others in the courtroom, renounced the headline of the interview that he had given to the "Corriere della Sera" in 2009: "Saviano should not have bodyguards". "I don't agree with the headline of that article," Pisani declared to the judges. He also clarified the content of the investigation his team had conducted on the threats to Saviano: "We investigated and showed some photos to Saviano, who, however, did not identify them as the people who had threatened him. The decision to assign a security detail was obviously not up to us." Pisani, therefore, explained that he did not say the words pronounced in the article since the Carabinieri (Italy's national military police) were the ones who had to make the decision concerning Saviano's security detail.


title: Roberto Saviano

text: In 2004, the internet site collected signatures in support of the ex-terrorist member of PAC (Armed Proletarians for Communism), Cesare Battisti, who had become a writer and was then hiding in France and Brazil. More than 1,500 signatures were obtained from the political-cultural arenas of France and Italy, including Saviano's. However, in January 2009, Saviano retracted his signature, saying that this was out of respect for the victims. This petition attracted media attention thanks to the interest of the weekly magazine "Panorama".


title: Roberto Saviano

text: During the demonstration "For Truth, for Israel", organized by representative Fiamma Nirenstein of the PdL and held in Rome on October 7, 2010, Saviano participated through a video message, praising the Jewish state as a place of freedom and civilization. In his speech, the writer spoke of his Jewish roots and declared that Israel is a "democracy under siege," Tel Aviv is "a hospitable city" "that never sleeps, is full of life and, above all, tolerance, a city that succeeds more than any other in welcoming the gay community" and that "the refugees of Darfur, for example, are welcomed in Israel."


title: Roberto Saviano

text: These, along with other declarations, caused controversy and were criticized for having ignored the injustices suffered by the Palestinian population. Activist Vittorio Arrigoni responded to Saviano's affirmations through a video, inviting him to revise his opinions and to define Shimon Peres—commended by Saviano—as a "war criminal."


title: Roberto Saviano

text: Saviano responded to the objections by saying "In the video ... I never supported the war, never supported Operation Cast Lead, or the Israeli Right, never Netanyahu. I spoke about another Israel, an Israel to which one may turn in order to obtain peace." Referring to the writer Arrigoni, he replied, "In response to the question of are you with the Palestinians or the Israelis, I may disappoint, but I will always respond how my friend David Grossman taught me: 'I am with peace.'"


title: Roberto Saviano

text: Saviano was accused by Marta Herling, the granddaughter of the Abruzzese philosopher Benedetto Croce, of having written a dishonest article about him. The writer affirmed that during the , in which Croce lost his parents and sister, he allegedly followed his dying father's advice and offered 100,000 lire (a very large sum for the time), to whoever helped him out from under the rubble. The testimony taken up by Saviano during the show "Vieni via con me" ("Come away with me") in 2010, was denied by Herling in a letter published in the "Corriere del Mezzogiorno" and in two interviews given to TG1, during which she explicitly maintained that the writer invented the episode.


title: Roberto Saviano

text: Such a theory, according to the director of the "Corriere del Mezzogiorno", Marco Demarco, came from an "anonymous source" reported by Ugo Pirro in the magazine "Oggi" in 1950. Actually, two detailed sources document the episode described by Saviano. A later and better-known one is by Carlo del Balzo, who describes the tragedy suffered by the Croce family in a book published shortly after the event: "Cronaca del Tremuoto di Casamicciola" ("Report on the Casamicciola Earthquake") (Naples: Carluccio, De Blasio & Co., 1883). Nevertheless, there is also a previous book drawn on by Carlo del Balzo, titled "Ricordi. Casamicciola e le sue rovine. Cenni storici – Geografici – Cronologici" ("Memories. Casamicciola and its ruins. Historical – Geographic – Chronological Accounts") (Naples: Prete, 1883.). The passage taken by del Balzo is the following:


title: Roberto Saviano

text: "And at Casamicciola the son of Comm. Croce was dug out alive. He is the only survivor of the rich family from Foggia, which has been settled in Naples for a long time. He recounted that his mother and sister were found among the rubble and passed away. His father, who was writing with his son at the table when the quake struck, was completely covered by debris except for his head and told him – Offer 100 thousand lire to whoever can save us. – And then his voice could no longer be heard and he was completely buried. The young Croce had a fractured arm and leg."


title: Roberto Saviano

text: A legal complaint between Roberto Saviano and TG1 resulted from this affair since TG1 had interviewed Marta Herling, who maintained that the writer had "invented" the episode of the 100,000 lire, without giving Saviano the right to reply. Feeling that he had been defamed, Saviano sued RAI for 4,700,000 euros in damages.


title: Roberto Saviano

text: In 2013, Saviano and the Arnoldo Mondadori Editore publishing house were sentenced for plagiarism on appeal. The Appeals Court of Naples recognized that some pages of "Gomorrah" (0.6% of the entire book) were the results of an illicit reproduction of some lines from two articles from local daily papers, "Cronache di Napoli" and "Corriere di Caserta". Therefore, it partially modified the sentence from the first-degree court in which the court had rejected the accusations made by the two newspapers and had, instead, condemned them to pay damages for having "abusively reproduced" two of Saviano's articles (this sentence was confirmed in the appeal). In the appeal, the writer and Mondadori were ordered to jointly pay reparations for property and other damages of 60,000 Euros, plus a portion of legal costs. The writer appealed the ruling at the Court of Cassation, and the Supreme Court partially confirmed the sentence of the Appeals Court, but called for a reconsideration of the damages, evaluating 60,000 Euros to be an excessive sum for newspaper articles with a very limited readership. The Supreme Court did not agree with Saviano's appeal, rejecting almost all of the findings and largely confirming the basic structure of the Appeals Court's sentence.


title: Roberto Saviano

text: In September 2015, journalist Michael C. Moynihan wrote an article for "The Daily Beast", criticizing "ZeroZeroZero" and accusing Saviano of having used sections of text, including from Wikipedia, without citing his sources. In an article for the Italian newspaper "La Repubblica", Saviano demonstrated how the passages from "ZeroZeroZero" and the presumed sources identified by Moynihan were manipulated in order to appear similar. The English newspaper "The Guardian" reported on the controversy with an article entitled "Roberto Saviano dismisses plagiarism claims over latest book", in which Saviano says, "I'm not a journalist (or a reporter), but, rather, a writer, and I recount real facts." Saviano adds that "Interpretations and theories have a provenance, not mere facts: those belong to all, to those who recount them and to those who read them, making them their own".


title: Roberto Saviano

text: Among the various public personalities who have expressed their support of Roberto Saviano, the then-editor in chief of "La Repubblica", Ezio Mauro, appeared in a video on the paper's website on September 28, 2015, to give his contribution to the "Saviano case." He repeated that "the facts of the news are available to all" and spoke about the "typical iconoclasm toward famous people who have constructed success and visibility based on their own hard work and studies." He continued by saying, "Saviano is paying for having an enormous following and, above all, for the fact that he hasn't remained comfortably in cultural obscurity".


title: Roberto Saviano

text: On November 8–29, 2010, Roberto Saviano hosted the cultural program "Vieni via con me" ("Come Away with Me") with Fabio Fazio on Rai 3. The program had very successful ratings: the third episode was seen by 9,671,000 viewers, or 31.6% of the television audience that evening. The show covered themes such as organized crime, immigration, women's emancipation, politics, and serious problems in Italian society. The program typically features the reading of "lists", with the goal of highlighting the issues addressed through a series of data. Numerous special guests appeared in the four episodes of the program.


title: Roberto Saviano

text: Beginning on May 14, 2012, Saviano hosted the program ("What I (don't) have"), once again with Fabio Fazio. It aired on La7 and was also streamed live on YouTube. The first episode was a record for La7, with 12.65%, or 3,036,000, viewers, and was the third most-watched program of the evening. This record was surpassed two days later with the third and final episode of the program, which registered 13.06% of viewers.


title: Roberto Saviano

text: For four weeks from October 4, 2017, Saviano hosted the show on the TV channel Nove, where he spoke of the major Italian and international bosses of the organized crime system.


title: Roberto Saviano

text: (Publication of the conversation between Saviano and William Langewiesche at the Ferrara Internazionale Literary Festival in 2007).


title: Florence Scovel Shinn

text: Florence Scovel Shinn (September 24, 1871 in Camden, New Jersey – October 17, 1940) was an American artist and book illustrator who became a New Thought spiritual teacher and metaphysical writer in her middle years.


title: Florence Scovel Shinn

text: In New Thought circles, Shinn is best known for her first book, "The Game of Life and How to Play It" (1925). She expressed her philosophy as:


title: Florence Scovel Shinn

text: The invisible forces are ever working for man who is always "pulling the strings" himself, though he does not know it. Owing to the vibratory power of words, whatever man voices, he begins to attract.--"The Game of Life", Florence Scovel Shinn


title: Florence Scovel Shinn

text: Florence Scovel was born in Camden, New Jersey, the daughter of Alden Cortlandt Scovel and Emily Hopkinson Scovel. Her great, great, grandfather, Francis Hopkinson, signed the Declaration of Independence and is the earliest documented American composer of song. She was educated in Philadelphia where she attended the Pennsylvania Academy of the Fine Arts and there met her future husband, the artist Everett Shinn (1876–1953). After marriage they moved into a studio apartment at 112 Waverly Place, near Washington Square, New York. Everett built a theatre next door, and wrote three plays in which Florence played a leading role. They spent their summers in Plainfield (Cornish Art Colony), New Hampshire in a Colonial-style house designed by her husband. Florence and Everett divorced in 1912.


title: Florence Scovel Shinn

text: Florence worked as an illustrator in the early 1900s. She illustrated fiction in "Harper's" and other magazines, as well as popular novels such as Mrs. Wiggs of the Cabbage Patch (1901). The Society of Illustrators elected her to an Associate Membership in 1903, even though it did not admit women to full membership in the organization until 1922.


title: Florence Scovel Shinn

text: An early biographical sketch of Florence Scovel Shinn as an Illustrator offers insight into her later writings and attitude towards life:


title: Florence Scovel Shinn

text: Her keen sense of humor crops out in every group, and the turn of a line gives a comical effect. The peculiar gift that Mrs. Shinn is endowed with is that she can draw the most pitiful little figures and yet infuse into the picture a happy, healthy atmosphere that impresses us with the worth and joy of living. Her characters are never caricatures; they are appealing and provoke the laughter that bears no malice.


title: Florence Scovel Shinn

text: Her metaphysical works began with her self-published "The Game of Life and How to Play it" in 1925. "Your Word is Your Wand" was published in 1928 and "The Secret Door to Success" in 1940. After her death another two works were published, "The Power Of The Spoken Word" in 1945 by Shinn Press and "The Magic Path Of Intuition". This last book was published by Louise Hay in 2013 who received from a rare-books dealer a small, typewritten unpublished manuscript of the last writings of Florence Scovel Shinn, accompanied by a cover letter which said in part:


title: Florence Scovel Shinn

text: Several Months ago we came across a unique item from that collection that we think you may have an interest in. The item is an original typewritten manuscript by Florence Scovel Shinn, The Magic Path of Intuition. We're contacting you to see if you or Hay House have an interest in purchasing this rare original manuscript positioned to share its content with the world.


title: Florence Scovel Shinn

text: "The Game of Life and How to Play it" includes quotes from the Bible and anecdotal explanations of the author's understanding of God and man. Her philosophy centers on the power of positive thought and usually includes instructions for verbal or physical affirmation.


title: Florence Scovel Shinn

text: It is safe to say that all sickness and unhappiness come from the violation of the law of love. A new commandment I give unto you, "Love one another," and in the Game of Life, love or good-will takes every trick.


title: Florence Scovel Shinn

text: Her advice is usually accompanied by a "real life" anecdote, as for the above "Love one another" advice:


title: Florence Scovel Shinn

text: A woman I know, had, for years an appearance of a terrible skin disease. The doctors told her it was incurable, and she was in despair. She was on the stage, and she feared she would soon have to give up her profession, and she had no other means of support. She, however, procured a good engagement, and on the opening night, made a great "hit". She received flattering notices from the critics, and was joyful and elated. The next day she received a notice of dismissal. A man in the cast had been jealous of her success and had caused her to be sent away. She felt hatred and resentment taking complete possession of her, and she cried out, "Oh God don't let me hate that man." That night she worked for hours "in the silence".


title: Florence Scovel Shinn

text: She said, "I soon came into a very deep silence. I seemed to be at peace with myself, with the man, and with the whole world. I continued this for two following nights, and on the third day I found I was healed completely of the skin disease!" In asking for love, or good will, she had fulfilled the law, ("for love is the fulfilling of the law") and the disease (which came from subconscious resentment) was wiped out.


title: Florence Scovel Shinn

text: Her books "Your Word Is Your Wand" and "The Game of Life and How To Play It" were released as audiobooks in 2014 and 2015, respectively, with narration by actress Hillary Hawkins.


title: Florence Scovel Shinn

text: Shinn is considered part of the New Thought movement, as her writings follow in the tradition of Phineas Quimby (1802–1866), Mary Baker Eddy (1821–1910), Emma Curtis Hopkins (1849–1925), and both Charles Fillmore (1854–1948) and Myrtle Fillmore (1845–1931), co-founders of the Unity Church.


title: Dodge Omni

text: The Dodge Omni (and the nearly identical Plymouth Horizon) is a subcompact car that was produced by Chrysler Corporation from the 1978 to 1990 model years. The first Chrysler model line produced with front-wheel drive, the Omni and Horizon were also the first front-wheel drive economy cars assembled in the United States. Marketed for eleven years with very few changes, around 2,500,000 Omnis and Horizons were built with the Plymouth badged versions more popular than the Dodge branded models.


title: Dodge Omni

text: The first (and only) world car designed by Chrysler, the model line originated from a design of Chrysler Europe (who developed the namesake Chrysler Horizon). While visually similar, the American Omni/Horizon would have extensive functional differences from its European counterpart.


title: Dodge Omni

text: From 1977 to 1990, Chrysler produced the Omni and Horizon at its Belvidere Assembly Plant facility (Belvidere, Illinois); from 1987 to 1989, the model line was license-built by American Motors Corporation (AMC) at its own facility in Kenosha, Wisconsin. From 1987 to 1990, the model line was marketed alongside its successor, the Dodge Shadow/Plymouth Sundance hatchback sedan.


title: Dodge Omni

text: In 1974, Chrysler president Lynn Townsend sent an American management team to Chrysler Europe to find a suitable small-car design to market in the United States, ultimately rejecting a front-wheel drive compact (codenamed C6) as unsuitable to produce for the United States (the design was produced in Europe as the Chrysler Alpine). At the end of 1974, Chrysler Europe approved the final clay model design of a shorter wheelbase version (codenamed C2) as a subcompact in the 1.3 L engine range. The C2 project provided multinational Chrysler Europe with a single model line to replace the outdated Simca 1100 and the Hillman Avenger.


title: Dodge Omni

text: The development of the Dodge Omni and Plymouth Horizon began life in 1975. Following the retirement of Townsend, Chrysler management decided to develop an American-market version of the C2 project, working in tandem with Chrysler Europe. While one American design team sought to redevelop the body as a coupe, designers ultimately retained the five-door hatchback, favoring its European-style configuration (similar to the five-door Golf).


title: Dodge Omni

text: At the time, Chrysler Europe was splitting design and engineering work between France (chassis, powertrain, and manufacturing) and the United Kingdom (body design and development). Alongside component design for European use, American designers developed the C2 project to comply with local standards.


title: Dodge Omni

text: As part of the dire financial situation of its parent company, Chrysler Europe was sold to PSA Peugeot Citroën in August 1978. As part of the sale, Peugeot phased out the Chrysler brand in Europe in favor of a revived Talbot marque; the rebranded Horizon continued production (nearly unchanged) through 1987.


title: Dodge Omni

text: The sale of Chrysler Europe ended further design work on the C2 project; at the time, the company was seeking to expand the model line to a four-door sedan and a shorter-wheelbase three-door hatchback.


title: Dodge Omni

text: During the mid-1970s, Chrysler held no presence of its own in the subcompact automobile segment. Following the unsuccessful introduction of the Plymouth Cricket (captive imports of the Hillman Avenger), the company shifted to the Dodge/Plymouth Colt (captive import of the Mitsubishi Lancer).


title: Dodge Omni

text: At the time, the front-wheel drive layout was largely reserved for low-volume luxury cars (including the Cadillac Eldorado and Oldsmobile Toronado). By 1976, Honda (with the Civic and the Accord) and Volkswagen (with the Rabbit) became the first manufacturers to offer competitive front-wheel drive economy cars in the American market. To further develop the C2 project for the American market, Chrysler Corporation purchased nearly 100 Volkswagen Rabbits in the United States for the purposes of reverse engineering.


title: Dodge Omni

text: At the end of 1977, the C2 project entered production in both Europe and North America, with Chrysler Europe sharing the Horizon nameplate (as the Chrysler-Simca Horizon) with the American Plymouth division. While Chrysler had trailed the AMC Gremlin, Ford Pinto, and Chevrolet Vega to market by eight years, the $2,500 ($ in dollars) Omni/Horizon provided the company an extensive headstart on its American competitors (which were released in 1981 and 1982, respectively) with the adoption of front-wheel drive, transverse-mount powertrains.


title: Dodge Omni

text: Following the 1978 sale of Chrysler Europe, Chrysler Corporation retained the design rights to its version of the C2 project, continuing production in Illinois.


title: Dodge Omni

text: The Dodge Omni and Plymouth Horizon are five-door hatchbacks sold in North America. Introduced in January 1978, the model line was developed in tandem with Chrysler Europe, leading to the namesake Chrysler Horizon. Chrysler also sold multiple variants of the model line derived from the same chassis, including 2+2 coupes and coupe utility pickup trucks.


title: Dodge Omni

text: Produced nearly unchanged from the 1978 to the 1990 model years, Chrysler had beaten out Ford and General Motors to the market with a domestically-produced front-wheel drive car to challenge the VW Rabbit.


title: Dodge Omni

text: The Dodge Omni and Plymouth Horizon use the front-wheel drive Chrysler L platform on a 99.2-inch wheelbase (shared with its European namesake). Initially designed by Chrysler Europe, Chrysler Corporation made substantial changes to the suspension design for the American market. In contrast to the Chrysler Horizon, which has a front torsion bar suspension, the model line uses front MacPherson struts. While the rear suspension shares a semi-independent layout (coil springs, rear trailing arms), the Omni/Horizon was developed with its own suspension tuning.


title: Dodge Omni

text: The model line is equipped with power-assisted front disc brakes and rear drum brakes and a rack and pinion steering system.


title: Dodge Omni

text: While sharing a transverse engine layout, the Dodge Omni and Plymouth Horizon diverge furthest from the Chrysler Horizon in its engine offerings. At the time, Chrysler did not have capability to supply four-cylinder engines for the North American market (of any type), and the Simca-designed 1.1 to 1.4 L engines were deemed insufficient in terms of output. Instead, Chrysler adopted a 1.7 L I4, sourced from Volkswagen in the United States with an enlarged Chrysler-designed cylinder head and intake manifold. Torque was and the engine was paired with a 4-speed manual transmission or a 3-speed automatic. At the time of introduction, only the CARB-certified version with an air pump and had been available. In 1979 power climbed to , while by 1980 it dropped to and of torque in all fifty states.


title: Dodge Omni

text: Chrysler's 2.2 L K-car engine appeared for the 1981 model year as an upmarket option to the Volkswagen engine, mated to a new four-speed manual with an overdrive fourth. It produced at first, rising to in 1986. For 1983, Chrysler introduced a Peugeot-supplied 1.6-liter Simca unit as a new base engine (requiring only an alternator to be added by Chrysler); the engine was paired with a manual transmission and the deletion of air conditioning. For 1987, the 1.6 was dropped, with the 2.2-liter becoming the standard engine offering. The 2.2 received fuel injection for 1988, accompanied by three additional horsepower. Latterly, the 2.2 L engine was paired to a 5-speed manual transmission or a 3-speed automatic.


title: Dodge Omni

text: Chrysler had planned on offering PSA's new 1.9-liter diesel in the Omni/Horizon for the 1984 model year. Thanks to the implosion of the diesel market in North America, this never saw the light of day – although the engine was used in the European Horizon. For 1985, Chrysler had planned to build a "fast-burn, high-swirl" 1.8-liter four for the Omni as well as K-cars, but these plans also stalled.


title: Dodge Omni

text: While sharing a visually similar appearance with its Chrysler Europe counterpart, the Omni/Horizon shares almost no body commonality. Along with the American requirement of sealed-beam headlamps, 5-mph bumpers, the body stampings are not shared between the two model line; for example, the joint between the roof and A-pillar on the American model line is welded together (on the European version, it is a single stamping). On the Omni/Horizon, the rear door windows do not roll down completely; the corresponding version of the Chrysler Horizon does (through a higher-cost, more complex design).


title: Dodge Omni

text: With the exception of grilles, taillamps, and model badging, the Dodge Omni and Plymouth Horizon were largely indistinguishable from one another. For 1984, the model line underwent a minor revision. Distinguished by revised exterior badging, the revision phased out a large degree of chrome exterior trim in favor of black-painted trim. The interior received a redesigned dashboard (a Rallye dashboard with full instrumentation was introduced as an option) and new seats; a 5-speed manual transmission became standard. For 1987, to streamline production, all vehicles received an instrument panel with tachometer, oil pressure, and voltmeter gauges.


title: Dodge Omni

text: For 1990, the Omni and Horizon underwent several minor revisions. Chrysler invested in a number of significant changes that ended up being used for only one year; the cars gained larger exterior rear-view mirrors borrowed from the departed M-body sedans in lieu of the original round units, and, to comply with federal passive-restraint regulations, a driver-side airbag was added along with rear-seat outboard shoulder belts. The instrument panel was mildly redesigned, complete with HVAC controls moved to the center, taking the place of the radio (which took the place of the ashtray).


title: Dodge Omni

text: In contrast to many Chrysler model lines, the Dodge Omni and Plymouth Horizon were largely sold across a single trim level. For 1981 and 1982, Chrysler introduced a "Miser" version; this lightly-equipped version was developed to increase fuel economy, including an overdrive manual transmission.


title: Dodge Omni

text: For 1984, the SE (Sport Edition) option was introduced, which consisted of two-tone exterior paint. From 1984 to 1986, the Carroll Shelby Omni GLH, GLH-T, and GLHS (see below) were high-performance turbocharged versions of the Omni hatchback.


title: Dodge Omni

text: For 1987, the America edition of the Omni was introduced to combat recent low-priced imports such as the Yugo and the Hyundai Excel. The price was dropped from $6,209 to $5,499, with "$684 of added equipment at no cost" according to Chrysler. The break-even point of the Omni America was 170,000 cars To offer the vehicle as the lowest-price American-assembled subcompact, Chrysler reduced the number of options to two (air conditioning and a radio, three options if the California emissions package is included), while cutting the profit margin. Suppliers, United Auto Workers, Chrysler dealers, and even the State of Illinois also made concessions to help lower the price of the car.


title: Dodge Omni

text: From 1977 to 1990, Chrysler Corporation assembled the Omni and Horizon hatchbacks at Belvidere Assembly Plant (Belvidere, Illinois), which assembled the entire line of L-body vehicles, including the Dodge Omni 024, Plymouth Horizon TC3, Dodge Charger, Plymouth Turismo, Dodge Rampage, and Plymouth Scamp. The Omni and Horizon appeared at a critical time for Chrysler, when the company was on the brink of bankruptcy and sought government support to survive. However, the L-bodies miscarried at first, since 1978 was a year of strong sales for larger cars and demand for compacts and subcompacts noticeably shrank. These initial poor sales of the cars contributed to Chrysler's financial woes at the time, but when the company requested federal assistance, the Omni was an important piece of evidence that they were attempting to compete with imports and build small, fuel-efficient cars and might be worth saving. For the three years leading up to the introduction of Chrysler's K-cars, the Omni/Horizon was Chrysler's best selling model line.


title: Dodge Omni

text: In 1985, Chrysler entered an agreement with American Motors Corporation (AMC) to produce Chrysler M-body vehicles at its Kenosha, Wisconsin facility (supplementing AMC production of Renault-badged vehicles). Alongside production of Chrysler's M-body sedans (Dodge Diplomat/Plymouth Gran Fury/Chrysler Fifth Avenue), Chrysler and AMC agreed to add the L-body Omni and Horizon to the contract in 1987. M-body sedans were built at the Kenosha Main plant, while L-bodies were built at Kenosha Lakefront.


title: Dodge Omni

text: Following the introduction of the five-door Omni/Horizon, Chrysler introduced several additional versions of the L-body platform, including the Dodge 024/Plymouth TC3 three-door hatchbacks (later the Dodge Charger/Plymouth Turismo) and the Dodge Rampage/Plymouth Scamp coupé utility pickup truck.


title: Dodge Omni

text: For 1979, Chrysler introduced a hatchback coupe version of the Omni/Horizon, named the Dodge Omni 024 and Plymouth Horizon TC3. Using an L-body chassis (shortened to a 96.6-inch wheelbase), the 024/TC3 coupes shared no external bodywork with the five-door hatchbacks. Sharing the same powertrain as the Omni and Horizon, the coupes were largely designed for appearance over performance. After the 1982 model year, the 024/TC3 were discontinued.


title: Dodge Omni

text: For 1982, the Dodge Charger and Plymouth Turismo were introduced as gradual replacements for the 024/TC3. While again receiving the same powertrain offerings as the five-door hatchbacks, the 2.2 L high-output engine was added to create the Dodge Shelby Charger/Plymouth Turismo Duster. For 1984, the coupes received updated exterior styling (distinguished by a quad-headlamp front fascia). For 1985 and 1986, the Shelby Charger adopted the engine of the Omni GLH-T.


title: Dodge Omni

text: Following the 1987 model year, the Dodge Charger/Plymouth Turismo were replaced by the Dodge Shadow/Plymouth Sundance; Dodge would not again remarket a Charger until the 2005 model year. The final 1000 Dodge Shelby Chargers were built as Shelby Charger GLHS vehicles with a 2.2 L Turbo II engine, upgraded transmission, brakes, and suspension, and the deletion of all Dodge badging.


title: Dodge Omni

text: For 1982, Chrysler introduced a coupe utility pickup derived from the L-body chassis, named the Dodge Rampage. The first front-wheel drive American pickup truck, the Rampage extended the Dodge Omni chassis to a 104.2-inch wheelbase. To compete with the payload of the larger El Camino, Chrysler redesigned the rear frame and suspension of the L-body for the Rampage, with the vehicle receiving a leaf-sprung rear axle.


title: Dodge Omni

text: For 1983 the Plymouth Scamp was introduced alongside the Dodge Rampage, distinguished primarily by badging and trim; the Scamp was offered only for 1983. For 1984, the Rampage received the quad-headlight front fascia of the Dodge Charger and block-letter badging.


title: Dodge Omni

text: The highest-performance Dodge Omni was the 1984–1986 Omni GLH, modified by Carroll Shelby. Following the rejection of "Coyote" by Chrysler, the initials GLH ("Goes Like Hell", the choice of Carroll Shelby) were used instead.


title: Dodge Omni

text: For 1984, the Omni GLH adopted many of the modifications of the 1983 Shelby Charger, including its 2.2 L "high-output" I4, stiffer suspension, larger brakes and wider tires. For 1985 and 1986, Shelby offered the GLH with an optional 2.2 L Turbo I I4 (GLH-T); 1986 vehicles are largely distinguished by their center brake light.


title: Dodge Omni

text: Shelby Automobiles purchased the final 500 1986 GLH-T (all in black) and used them as the basis for the 1986 Shelby GLHS ("Goes Like Hell S'more"). Modified by the company in California, the GLHS vehicles were legally sold as Shelbys. The Turbo I engine underwent extensive modification, adopting multiple components of what would become the Turbo II engine introduced for 1987. Along with an intercooler, the engine received a larger turbocharger and throttle body, tuned intake and exhaust manifolds, a new wiring harness, and a new radiator and engine fan (among other engine modifications). The suspension was upgraded further, receiving stiffer springs, and adjustable Koni struts and shocks, along with larger tires mounted on Shelby-designed wheels. In contrast to the red pinstripes of the GLH/GLH-T, the GLHS used silver pinstripes and badging; a "Shelby" decal was added to the windshield and a large GLHS decal was added to the driver-side C-pillar (the passenger-side C-pillar was occupied by the gas cap door).


title: Dodge Omni

text: At the time of its 1978 launch, the Omni and Horizon would play a significant role in the survival of Chrysler Corporation. While initially struggling against rebounding sales of larger vehicles, nearly 200,000 examples of the combined model line were sold in the first model year. In contrast to most Chrysler model lines, the Plymouth Horizon would outsell the Dodge Omni (some years, by a significant margin), with the exception of the final 1989 and 1990 model years.


title: Dodge Omni

text: As the Omni/Horizon became the best-selling Chrysler model line between 1978 and 1980, it would play a major role in Chrysler securing government funding in 1979. The model line was evidence that Chrysler was attempting to develop more fuel-efficient vehicles competitive with automakers around the world. Along with ensuring the continued survival of the company, the $1.5 billion loans allowed Chrysler to finish the development of its compact/mid-size K-Car program and its minivans, two of its most profitable model lines during the 1980s.


title: Dodge Omni

text: Following its launch, the Dodge Omni was awarded the 1978 "Motor Trend" Car of the Year Award. In a similar fashion, the 1978 Chrysler Horizon was voted European Car of the Year for 1979.


title: Dodge Omni

text: Shortly after their introduction, "Consumer Reports" tested the Omni and Horizon and reported that it lost control in hard maneuvering. As front-wheel-drive cars were still considered a new idea in the American automotive industry, the allegation received extensive mainstream coverage, including a piece in "Time" magazine. Other automotive media reported no problems and said the Consumer Reports test did not approximate real-world driving conditions. In response to the Consumer Reports article, Chrysler modified the car to add a steering damper and a lighter-weight steering wheel.


title: Tales of Monkey Island

text: Tales of Monkey Island is a 2009 graphic adventure video game developed by Telltale Games under license from LucasArts. It is the fifth game in the "Monkey Island" series, released nearly a decade after the previous installment, "Escape from Monkey Island". Developed for Windows and the Wii console, the game was released in five episodic segments, between July and December 2009. In contrast to Telltale's previous episodic adventure games, whose chapters told discrete stories, each chapter of "Tales of Monkey Island" is part of an ongoing narrative. The game was digitally distributed through WiiWare and Telltale's own website, and later through Steam and Amazon.com. Ports for OS X, the PlayStation Network, and iOS were released several months after the series ended.


title: Tales of Monkey Island

text: Players assume the role of pirate Guybrush Threepwood, who—while attempting to destroy his nemesis, the undead pirate LeChuck—accidentally releases a voodoo pox across the Gulf of Melange. With the assistance of his wife, Elaine, Guybrush seeks out a cure. The game was conceived in late 2008, due to renewed interest in adventure game development within LucasArts. It was developed concurrently with LucasArts' special edition of the 1990 game "The Secret of Monkey Island"; LucasArts oversaw production of "Tales of Monkey Island", and ensured that it matched the remake in certain areas, such as art direction. Production began in early 2009; franchise creator Ron Gilbert was involved in project planning, while development was led by Dave Grossman, who co-designed the first two "Monkey Island" games. The game's music was composed by Michael Land, and the core cast of "The Curse of Monkey Island" reprised their voice roles.


title: Tales of Monkey Island

text: "Tales of Monkey Island" received generally positive reviews. Critics praised the game's story, writing, humor, voice acting and characterization; 1UP.com described Guybrush as Telltale's strongest and most expressive character yet. The game's music and graphics were also lauded. Complaints focused primarily on the perceived erratic quality of the game's puzzle design, a weak supporting cast in the early chapters, and the game's control system. "Tales of Monkey Island" garnered several industry awards, and was Telltale's most commercially successful project until "".


title: Tales of Monkey Island

text: A sixth entry in the franchise, "Return to Monkey Island" by publisher Devolver Digital, Lucasfilm Games and Terrible Toybox, was released on September 19 2022.


title: Tales of Monkey Island

text: Like its predecessors, "Tales of Monkey Island" is a graphic adventure game; the player assumes the role of the protagonist in an interactive story, which is driven by the exploration of the game's three-dimensional (3D) environments and by solving puzzles. These puzzles are traditional adventure game conundrums that require the player to use the environment, or items that have been found and stored inside the game's inventory, to accomplish goals. In keeping with previous "Monkey Island" games, "Tales of Monkey Island" allows players to combine certain items to create new items; for instance, the player can combine a number of voodoo ingredients with a cutlass to produce a magical cutlass.


title: Tales of Monkey Island

text: The game world is explored with a PC keyboard and mouse, or the Wii Nunchuk's analog stick. Contrary to previous Telltale adventure games, the player holds and drags the mouse to move Guybrush, rather than point and clicking. The WASD keys or the arrow keys may instead be used to move Guybrush. Like other "Monkey Island" games, "Tales of Monkey Island" is designed to prevent the player from meeting a dead-end, such as the death of the player character. Each of the game's chapters is an estimated two to four hours in length, depending on the player's ability to solve the puzzles. A hint system can assist struggling players.


title: Tales of Monkey Island

text: The first chapter of the game includes a "treasure hunt" mode, where the player directs Guybrush through a maze-like jungle in pursuit of hidden treasure. Found treasures translate into prizes and discounts on Telltale's website. To access this mode, the player must locate maps on the Internet, hidden on the official Telltale website and three participating "Monkey Island" fansites.


title: Tales of Monkey Island

text: "Tales of Monkey Island" is set several years after the events of "Escape from Monkey Island". The designers discarded the Tri-Island Area - the setting of the game's predecessors - in favor of a new locale: the Gulf of Melange. The game follows Guybrush Threepwood (Dominic Armato), a pirate who is naïve and hapless, yet successful. Before the game's beginning, Guybrush spends years locating the elements needed to create the Cursed Cutlass of Kaflu, a voodoo weapon capable of destroying his nemesis, the demon pirate LeChuck (Adam Harrington, Kevin Blackton and later Earl Boen). As with other "Monkey Island" games, LeChuck vies for the love of Elaine Marley-Threepwood (Alexandra Boyd), the wife of Guybrush Threepwood and former governor of the Tri-Island Area. In the events immediately before the game, LeChuck kidnaps Elaine. Guybrush pursues LeChuck with the voodoo cutlass.


title: Tales of Monkey Island

text: Several ancillary characters from earlier games in the series return in "Tales of Monkey Island", including the Voodoo Lady (Alison Ewing), an enigmatic voodoo priestess who advises Guybrush in his quests; Stan (Gavin Hammon), a stereotypical salesman and business opportunist; and Murray (Denny Delk), a talking skull with delusions of grandeur. The game introduces new characters to the series, such as Morgan LeFlay (Nicki Rapp), a competent and athletic female bounty hunter who idolizes Guybrush. Other additions to the cast include Coronado DeCava, an explorer and former lover of the Voodoo Lady (Andrew Chaikin), and the Marquis de Singe (Jared Emerson-Johnson), an antagonistic French nobleman and doctor.


title: Tales of Monkey Island

text: Having acquired the components of the Cutlass of Kaflu, Guybrush races to the Rock of Gelato to save his wife from LeChuck; however, he fails to properly create the sword. When Guybrush stabs LeChuck, the flawed cutlass transforms LeChuck into a human, and infects Guybrush's hand with the "Pox of LeChuck", which gives the hand a mind of its own. An explosion on the ship hurls Guybrush into the ocean, and he later washes up on Flotsam Island. There, Guybrush encounters the Voodoo Lady, who explains that the pox will ravage the Caribbean, unless it is absorbed by a voodoo sea sponge called ""La Esponja Grande"" (The Big Sponge). Guybrush is advised to seek Coronado DeCava, a conquistador who is on an expedition to find "La Esponja Grande"; to leave the island, Guybrush must neutralize a machine that is drawing the winds inward, and thereby preventing ships from leaving. It is revealed that the Marquis de Singe is using the machine to bring pirates to the island for his medical experiments. De Singe becomes obsessed with Guybrush's hand, as he believes it to be key to eternal life. Guybrush reverts the wind patterns to normal— unwittingly causing the pox to spread across the sea —and departs in his newly acquired ship, the "Screaming Narwhal". De Singe hires a pirate hunter by the name of Morgan LeFlay to capture Guybrush; en route to the Jerkbait Islands, she boards the "Screaming Narwhal" and cuts off Guybrush's pox-infected hand in a duel. Afterwards, she returns it to de Singe.


title: Tales of Monkey Island

text: On the Jerkbait Islands, Guybrush finds Elaine safe, and learns that the now-human LeChuck is trying to make up for the evil deeds of his past. The three help to defend the resident merfolk city from pox-infected pirates; in return, the merfolk summon sea creatures to assist Guybrush in locating "La Esponja Grande". Elaine stays behind to monitor LeChuck's actions. As Guybrush follows the creatures on the "Screaming Narwhal", Morgan again boards the ship; de Singe had informed her that Guybrush's "entire body" was needed. Distracted by their duel, neither can react in time when the "Screaming Narwhal" is swallowed whole by a giant manatee.


title: Tales of Monkey Island

text: Inside the manatee, Guybrush and LeFlay discover the crazed DeCava and his crew; Guybrush heals the manatee's injuries, and escapes with DeCava to the location of "La Esponja Grande" (which turns out to be much smaller than advertised). After retrieving "La Esponja Grande", Morgan knocks Guybrush unconscious and sets sail for Flotsam Island with her bounty.


title: Tales of Monkey Island

text: As Morgan reluctantly delivers Guybrush to de Singe, Guybrush is seized by the townspeople and put on trial for multiple crimes - chief among them having released the pox across the Gulf of Melange. LeChuck exonerates Guybrush by implicating himself in the creation of the pox, and produces evidence that all previous confrontations between Guybrush and LeChuck had been orchestrated by the Voodoo Lady; the two are imprisoned, and Guybrush is released. As Guybrush prepares to cure the pox with "La Esponja Grande", he finds Morgan murdered in de Singe's laboratory. At the wind machine, de Singe traps Guybrush and Elaine, and believes that his experiments with Guybrush's hand are on the verge of granting him immortality. However, de Singe falls into the wind machine and is disintegrated; Guybrush then uses "La Esponja Grande" to absorb the pox. LeChuck arrives to free the two, but as Guybrush thanks him, LeChuck impales him on the Cutlass of Kaflu, and uses "La Esponja Grande" to transfer the pox's potency to himself.


title: Tales of Monkey Island

text: Now deceased, Guybrush finds his spiritual self at the Crossroads: the place where the living and dead realms meet. With the assistance of Morgan's spirit, he finds a spell that embodies courage, anchor, direction and sacrifice, and returns to the land of the living as a ghost. LeChuck however absorbs the massive amount of energy generated by a dimensional rift Guybrush opens; the pox was engineered by LeChuck to achieve this goal. Elaine, in an apparent act of betrayal, becomes LeChuck's demon bride. Guybrush repossesses his dead body and shrinks "La Esponja Grande", reversing LeChuck's hold over Elaine. LeChuck attacks Guybrush, who lures the demon pirate into the rift. There, LeChuck is simultaneously stabbed by Elaine and Morgan, which destroys his physical and spiritual forms. Stranded alone at the crossroads, Guybrush realizes that he has one more item that meets the spell's criteria for his return: Elaine's wedding ring. He uses it to restore himself to life and return to his wife. The spirit of Morgan delivers a jar containing the essence of LeChuck to the Voodoo Lady, in exchange for her return to the land of the living.


title: Tales of Monkey Island

text: Developed by Telltale Games, under license from LucasArts, "Tales of Monkey Island" marked a first collaboration between the two companies. Telltale Games had been founded by former LucasArts employees in the wake of the 2004 cancellation of "". Following that event, LucasArts appeared to have abandoned the adventure game genre. While Telltale Games had considered developing a "Monkey Island" game since their inception, the company's design director, Dave Grossman, credited the greenlighting of "Tales of Monkey Island" to the correct alignment of interested parties. This included the then-new president of LucasArts, Darrell Rodriguez, who helped push for adventure game development within his company. Mark Darin, co-designer and writer for "Tales of Monkey Island", attributed the revival of interest to the rise of digital distribution within the video game industry, which—by reducing financial risk—allowed companies such as Telltale to develop "something different from the endless clones of popular games". Telltale started designing "Tales of Monkey Island" in late 2008; production commenced early in 2009.


title: Tales of Monkey Island

text: Following hints by Telltale Games that they would soon announce a major new series, "Tales of Monkey Island" was unveiled at the June 2009 Electronic Entertainment Expo. Its roughly 50 person development team was headed by Dave Grossman, who co-designed the first two "Monkey Island" games. "Escape from Monkey Island" and "Sam & Max Hit the Road" co-designer Michael Stemmle contributed design and story writing, in collaboration with Mark Darin and Sean Vanaman. Series creator Ron Gilbert was involved in brainstorm sessions for the game, but did not have a large role in its development; the development team asserted that Gilbert's "thumbprints are all over [the game]". "Tales of Monkey Island" counterparts a LucasArts-developed enhanced remake of "The Secret of Monkey Island". On his blog, Gilbert wrote that he was "very excited" for both Telltale's adaptation and LucasArts' reimagining of the original game, and stated that "it's strange and humbling to see something you created 20 years ago take on a life of its own".


title: Tales of Monkey Island

text: While Gilbert and Grossman were engaged in the development of "Tales of Monkey Island", the third co-designer of the original two games, Tim Schafer, was not associated with the project. Grossman said that Gilbert's leadership role at Hothead Games had made procuring his assistance "legal wrangling", and that including Schafer as well would have been too much trouble. Schafer later said that he was "really happy" for the new game, and that the project was in good hands under Grossman's lead. The game's limited-edition slipcover artwork was painted by "Sam & Max" creator Steve Purcell, who was responsible for the box art of both "The Secret of Monkey Island" and "". Purcell created three different rough covers to present to Telltale Games, though the company valued Purcell's own opinion on which was best. Having not been satisfied with Elaine's appearance on the cover of "The Secret of Monkey Island", Purcell was keen to have another attempt to portray the character in his artwork. The final artwork, showing Guybrush and Elaine brandishing cutlasses on a ship emerging from fog, was favored as Purcell felt it was appropriately eerie.


title: Tales of Monkey Island

text: Grossman said that the game's simultaneous release on Windows and WiiWare was due to Telltale's business model; the company alternates its game releases between WiiWare and Xbox Live Arcade, as they want to "give the Wii a little love as well". The concurrent development of the Wii version created issues; last minute changes to the PC version could put an episode over the size limit for WiiWare games. The first episode was released for Windows on July 7, 2009, with the Wii version following twenty days later. Telltale distributed the game through their own website, and later made it available for download from Steam and Amazon.com. Xbox Live was omitted from the initial release, as both Telltale's "Wallace & Gromit's Grand Adventures", and LucasArts' special edition of "The Secret of Monkey Island", were debuting on the system.


title: Tales of Monkey Island

text: While Telltale had not announced plans to port "Tales of Monkey Island" to Mac OS, they did so on February 11, 2010; it was among the first games available for the newly released Mac OS Steam client. A PlayStation Network version was released in June 2010, due to consumer demand generated by the game's original announcement. A PlayStation 3 release had not been possible at launch, as Telltale's game engine was not built to run on the platform. An iPad-enhanced iOS port was being developed in 2010; the first episode was released on the App Store in December, and the rest of the episodes followed on June 23, 2011. As a bonus, players were offered the chance to download the first episode for free until July 22. Telltale Games has not ruled out the option of porting the game to Xbox Live and Linux. A port for the iPhone-enhanced iOS version was developed, and the first episode was released in November 2011, with the four remaining episodes that followed suit in a few months, ending with the release of Chapter 5 on February 23, 2012.


title: Tales of Monkey Island

text: Telltale Games had gone into bankruptcy proceedings and closed down in 2018, and as a result, several of its games including "Tales" were pulled from digital storefronts, believed to be due to assets from Telltale being sold off to recover debt. A new version of Telltale Games was launched in late 2018 by LCG Entertainment who had acquired the remaining Telltale assets with help of Athlon Games as a financial partner, which were able to reacquire rights to the delisted games and republish them. A repackaged version of "Tales" under LCG Entertainment and Athlon Games reappeared on storefronts by June 2020.


title: Tales of Monkey Island

text: As with Telltale's other products, "Tales of Monkey Island" was developed and released in five episodic segments; Grossman explained that Telltale prefers to tell stories this way, rather than as continuous narratives that are too long for people to play comfortably. Unlike their previous games, each episode is not a standalone tale; it is a single chapter in a larger plot. This allowed Telltale to advance the story like that of a television series, in which character relationships develop in the minds of the audience over several months. Each episode is designed to be gratifying on its own, with a satisfying conclusion; however, it then provides a cliffhanger to "tantalize the player a little more". According to Grossman, "Tales of Monkey Island" is set after an "imaginary" "Monkey Island 5", which he views as "a blockbuster, epic 40-hour gigantic experience like the earlier games". Its story would have followed Guybrush's actions in the time between "Escape from Monkey Island" and "Tales of Monkey Island"; the beginning of "Tales of Monkey Island" would have marked its conclusion. Grossman maintained that both the story and gameplay of "Tales of Monkey Island" were designed to be accessible for newcomers to the series, and commented that "knowledge of the characters and their history will add a nostalgic layer to the sly references, but is by no means necessary".


title: Tales of Monkey Island

text: Stemmle likened the game's episodic development to a relay race, and the development of a full game, such as "Escape from Monkey Island", to a "marathon". This production method meant that certain aspects, such as the game's graphics, were worked on until the release deadline. Each episode took around four months to complete. Only a few environmental resources were reused between episodes; while Telltale Games had built previous games such as "Sam & Max Save the World" and "Wallace & Gromit's Grand Adventures" around one set of locations, using the protagonists' homes and nearby streets consistently in each episode, the developers forwent such central hubs and "comfort zones" in "Tales of Monkey Island", instead having each episode move off to a new primary location, only occasionally revisiting past locations. However, reusable skeletons and animations were developed for the supporting cast, including generic body types that could be visually altered to suit each character. While four of these were created, size constraints resulted in only two being included in the final game. By the game's third episode, Telltale became unsatisfied with this system, and began diversifying facial features, and providing supporting characters with unique silhouettes and animations.


title: Tales of Monkey Island

text: The game's artistic direction was developed by former LucasArts members Derek Sakai and Dave Bogan; both of them had worked on "The Curse of Monkey Island", "Escape from Monkey Island", and several earlier LucasArts adventure games. The game's final art direction was an attempt to combine the realistic look of the first two "Monkey Island" games with the whimsical, stylized graphics of the third. While those games feature entirely two-dimensional graphics, and their successor, "Escape from Monkey Island", is largely pre-rendered, "Tales of Monkey Island" is rendered in full 3D. Grossman explained that both Telltale's art department and game engine are oriented toward 3D graphics development, and that the company enjoys the benefits 3D offers in the areas of animation and cinematography. Improved capacity for the latter resulted in the appointment of a "cinematic director": someone to help the designers locate scenes needing more dramatic activity, and to assist the animators and choreographers in creating it. During development, the necessity of this position was highlighted by a ship battle scene in "Launch of the "Screaming Narwhal"", which was initially static and unexciting. This was remedied by changing the time of day from dusk to night, adding rain and other weather effects, and using camera movement to simulate rough waters.


title: Tales of Monkey Island

text: Regarding the puzzle design in "Tales of Monkey Island", Stemmle said that he and his fellow designers—when they were younger—believed that they needed to "stump the player", but Stemmle now considers it "a "lot" better to make the players feel smart". Therefore, the designers included a hint system to prevent players from becoming stuck. Grossman explained that Telltale's designers would bear in mind how players would mentally progress through the puzzles, and consider "what realisations we expected them to have and whether those expectations are realistic". Due to a tight development schedule, puzzles in the first episode were not optimized for the game's control system, which was re-designed late in development. Initially, the game was to feature point-and-click controls, as had been used in the majority of Telltale's previous games, but a "direct control" method - similar to the one seen in "Wallace & Gromit's Grand Adventures" - was decided upon after much of the first episode had been planned. As the direct control in that game had been designed for an Xbox controller, the developers reworked the idea into a "click-and-drag" mouse system for "Tales of Monkey Island". Telltale believed that this control method made for a less passive and more engaging player experience, and provided more freedom for cinematic camera work than was possible with point-and-click.


title: Tales of Monkey Island

text: Aside from providing the "Monkey Island" license to Telltale, LucasArts' role in the game's development involved collaboration and approval of the game's script, character concept art and puzzle design. As the remake of "The Secret of Monkey Island" had begun development before "Tales of Monkey Island", LucasArts shared their art style guide with Telltale, so that the two products' art direction would be similar. In particular, LucasArts wished that the character of Guybrush would be comparable to the appearance of the character in the special edition. LucasArts largely based their vision for Guybrush's new visuals in "Tales of Monkey Island" on how the character appeared in "The Curse of Monkey Island", integrating various aspects from "LeChuck's Revenge" that commonly resonated through fan art, such as the character's blue coat and beard, in addition to using their own stylized art direction. Telltale concept artist Ryan Jones worked closely with LucasArts' Jeff Sengalli on developing the appearance of Guybrush and other characters, Sengalli providing feedback and refinement in such areas as character silhouettes, facial features and clothing. Vanaman noted that LucasArts was open to Telltale's creative direction for the game, and did not "put their foot down" over any aspects of their vision.


title: Tales of Monkey Island

text: Michael Land, the composer behind preceding "Monkey Island" games, returned to score "Tales of Monkey Island". In-house Telltale composer Jared Emerson-Johnson said that his own role in the game's music was "technical and administrative", and that, while he had been willing to assist Land, "the sound of the "Monkey Island" universe is all about Mike’s vision, so he was left alone to 'do his thing' as only he can". The soundtrack was recorded in MIDI format to reduce the data size for the Wii version; for the Windows version, the files were converted to WAV for increased quality. In each episode's production, music was among the last elements to be finalized, as it could not be finished until all cutscenes were properly timed.


title: Tales of Monkey Island

text: Dominic Armato, the voice actor of Guybrush from "The Curse of Monkey Island" onward, reprises his role as that character. LucasArts encouraged Telltale to retain as much of the original cast as possible—particularly Armato, who was described by LucasArts' David Collins as "the ultimate "Monkey Island" fanboy". Armato enjoyed his opportunity to voice Guybrush again; he had believed that the series would never be continued, due to the length of time since "Escape from Monkey Island"s release. Armato voiced the character in both "Tales of Monkey Island" and the special edition of "The Secret of Monkey Island"; in the former game, he attempted to make Guybrush sound more mature and experienced than his younger incarnation in the latter. Because of Armato's understanding of the character, the voice directors gave him considerable flexibility in his performance.


title: Tales of Monkey Island

text: Elaine Marley's voice actress in "The Curse of Monkey Island", Alexandra Boyd, was also brought back for her role. Boyd was unable to travel to Telltale's studio in California; instead, she recorded her lines in London, while communicating with the voice director via Skype. Earl Boen - the original voice actor for LeChuck - had retired from acting, and was not initially available to reprise his role. The character was instead voiced by Adam Harrington in the first episode, and replaced by Kevin Blackton as the human LeChuck in chapters two to four. Boen returned to voice the demon LeChuck at the end of the fourth episode, and stayed on for the game's fifth and final chapter. Telltale later had Boen re-record the lines for LeChuck's demon incarnation in the first episode for the DVD release. To make the actors' portrayals more forceful, Telltale implemented a lip sync system capable of presenting a large range of facial expressions on character models.


title: Tales of Monkey Island

text: To promote "Tales of Monkey Island", Telltale Games posted a series of fan-made Flash short films on their website. Entitled "I Wonder What Happens in Tales of Monkey Island", the series was created by German animator Marius Fietzek, who co-wrote it with Andrei Constantinescu. The series' artwork was produced by Martin Koehler. Presented as a cartoon version of "Tales of Monkey Island", the shorts speculated on the game's story and content, and depicted hypothetical events for the upcoming chapters. The first episode debuted on July 5, 2009, two days before the release of "Launch of the "Screaming Narwhal"". The second and third episodes followed on August 6 and September 16, respectively; the penultimate episode was released on October 22. For the final installment, released on December 4, Fietzek recruited Smudo of the German hip hop band Die Fantastischen Vier to do a musical number. Emerson-Johnson described the series as "absolutely fantastic", and said that "it really seems like these games appeal to people in a way that spurs huge amounts of excellent creative energy". He noted that Telltale "was passing [the videos] around for a good week" after they were posted.


title: Tales of Monkey Island

text: A week after the release of the first episode, Telltale held a contest called "Game Designer for a Day", which gave fans the opportunity to submit and vote for a line of dialog to be used as an accusation against Guybrush. The winning line, "He dug up my perfectly good X!", was submitted by Liz Johnston of Okanagan, British Columbia, Canada, and was subsequently added to the trial scene in the fourth chapter while Johnston's name was included in the chapter's credits.


title: Tales of Monkey Island

text: Telltale produced "Tales of Monkey Island" merchandise, which they sold from their online store. These included a poster print of Steve Purcell's cover artwork for the game, and a set of promotional badges; the latter had previously been available at conventions, such as E3. Further merchandise - including a tankard, a set of tarot cards, and a deluxe edition DVD - was made available in early March 2010. For the September 2009 International Talk Like a Pirate Day, Telltale Games made the game's first episode available for free on their website. Customers who had already purchased all five episodes were instead eligible for a free episode from one of Telltale's other series.


title: Tales of Monkey Island

text: "Tales of Monkey Island" was a commercial success, and it exceeded Telltale's sales projections. While no figures for the game have been released, the game was the company's most successful project, until it was outstripped by "", which was released a year and a half later. Telltale CEO Dan Conners noted that the game had been the top selling product on Steam for "a few days". According to Telltale's marketing department, the game was predominately purchased as a full season, rather than as individual episodes. This was attributed to the strong narrative between episodes, in contrast to Telltale's previous work.


title: Tales of Monkey Island

text: Critics believed that the first chapter, "Launch of the "Screaming Narwhal"", was a respectable start to the game. Ryan Scott of GameSpy wrote that the puzzles "generally challenge [the player] "just" enough without becoming too frustrating", while Eurogamer's Kristan Reed stated that their quality was "bang-on time after time". in contrast, criticism was directed toward certain puzzles' designs—particularly toward that of one maze puzzle. The writing and story were lauded, with several reviews commending the dialogue's humor. Adventure Gamers staff writer Evan Dickens felt that writing did not match up to the quality of "LeChuck's Revenge". Although the chapter's supporting cast was considered weak, critics enjoyed the introduction of de Singe to the series. The voicework for the main characters was praised, as was Land's soundtrack. Critics were mostly complimentary toward the episode's graphics, with "New Straits Times" Bruno Chan and "The Sunday Times" David Phelan praising the updated interpretation of "The Curse of Monkey Island"s art style while 1UP.com's Bob Mackey called Guybrush "the most convincingly expressive Telltale character yet"; however, concerns were voiced over erratic graphical quality between characters. The game's controls were subject to reproof by a number of reviews; several preferred the keyboard controls over Telltale's new "click and drag" system.


title: Tales of Monkey Island

text: Response to "The Siege of Spinner Cay" was similar to that of the preceding episode. Critics were divided over the quality of the chapter's puzzles: Destructoid reviewer Brad Nicholson criticized their design as "tight and constricted", and Dickens felt that they varied wildly in quality. In contrast, they were praised as "pleasantly non-linear" by Reed, and called logical and sensible by "PALGN"s Adam Ghiggino. The need for extended travel between locations, in order to complete mundane tasks, was criticized. The episode's writing was lauded by reviewers; particular praise was bestowed on the chapter's opening scene, which introduces Morgan LeFlay. Nevertheless, the story was disparaged by Reuben Lees of the "Herald Sun" for feeling "more like a bridge to open up further plotlines in the later episodes", a point echoed by other reviewers. While the supporting cast was again criticized, reviewers enjoyed the development of the main characters' roles. Critics admired the chapter's audio work, with Dickens calling Kevin Blackton's rendition of the human LeChuck a "real standout". Graphical tweaks over "The Launch of the "Screaming Narwhal"" were also appreciated.


title: Tales of Monkey Island

text: Critics considered "Lair of the Leviathan" to be stronger than the previous chapters; on the review aggregator sites GameRankings and Metacritic, its Windows version holds the highest rating out of all "Tales of Monkey Island" episodes. The episode's puzzles were commended; IGN's Steve Butts opined that Telltale's puzzle design had "moved forward quite a bit", compared to both preceding chapters and their earlier "Sam & Max" games. One puzzle in particular, involving pirates holding a face-pulling contest, was praised by reviewers. Dickens described the chapter's story as "strong [and] advancing", and Ghiggino felt that it "continued the fine "Monkey Island" tradition of being bizarre, hilarious and pretty interesting". Several reviews drew comparisons to the 1883 book "The Adventures of Pinocchio", due to the game's setting inside a giant manatee. The episode's writing received near unanimous praise, and response to the supporting cast was much improved over the preceding episodes; praise centered particularly around Murray, a demonic, disembodied skull. Criticism of "Lair of the Leviathan" primarily focused on the chapter's brevity and lack of varied locations.


title: Tales of Monkey Island

text: Reviewers were more ambivalent toward the fourth episode, "The Trial and Execution of Guybrush Threepwood". Reception of its puzzles was mixed; Ghiggino described many as "frustrating for the wrong reasons", and Dickens, while praising several as "challenging and creative", believed that there were "definite misfires". Butts criticized the "arbitrary design" of several puzzles, but noted that they were "exactly what we've come to expect from the series". Nevertheless, the episode's titular trial sequence was lauded. Reaction to the chapter's plot was mostly positive, with Eduardo Reboucas of Game Revolution commenting that it "moves along at a steady pace, and ends with a dramatic bang", Several reviews praised the twists in the story, although Adventure Classic Gaming's Mark Newheiser opined that the darker turn late in the episode was detrimental to the otherwise light-hearted series. The episode's writing was praised, as was the use of returning "Monkey Island" character Stan as the trial's prosecutor. Critics were divided over the effectiveness of reusing the setting of "Launch of the "Screaming Narwhal"".


title: Tales of Monkey Island

text: The final episode, "Rise of the Pirate God", was thought by critics to be a fitting end to the series. Response to the chapter's puzzles was mostly positive, though several reviewers maintained reservations about the difficulty and innovation of many of them. The level design, which requires players to backtrack between locations, was not well received. The chapter's climactic battle was thought to be sufficient, though timing issues caused GameCritics' Tera Kirk to describe it as "almost as frustrating as it is clever". Nevertheless, the story received strong praise, particularly for the role reversal between Guybrush and LeChuck; Destructoid's Anthony Burch noted that the chapter "completely and intentionally inverts ["Monkey Island"s] own cliches". Similarly, the writing and dialogue were commended, as was the voice acting, with critics praising Earl Boen's reprisal of the demon LeChuck and Armato's work as Guybrush. Reviewers complimented the graphics for both the ghostly "Crossroads" and the fire-ravaged real world; Butts expressed that "the levels all benefit from great color choices and fantastic lighting effects that really support the mood".