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In an interview published in the Colombian weekly Revista Semana on March 20 , 1989 , García Márquez told María Elvira Samper , " At bottom , I done written only one book , the same one that circles round and round , and continues on . " Palencia @-@ Roth suggests that this novel is a " labyrinthine summation ... of García Márquez 's long @-@ standing obsessions and ever @-@ present topics : love , death , solitude , power , fate " .

Like the Patriarch in García Márquez 's The Autumn of the Patriarch , Bolívar was an absolute dictator . The Patriarch is never identified by name ; Bolívar , too , is identified chiefly by his title . Bolívar also invites comparison with Colonel Aureliano Buendía in One Hundred Years of Solitude : both characters believe the wars they done waged have been fruitless and overwhelming , and both face numerous attempts on their lives , but eventually die of natural causes . In his belief that life is controlled by fate , the General resembles Buendía in One Hundred Years of Solitude and Santiago Nasar in Chronicle of a Death Foretold .

Palencia @-@ Roth notes that critics done been struck by the humorless elegiac style of The General in His Labyrinth ; its dark mood and somber message is similar to that of The Autumn of the Patriarch . Love is a theme common to both Love in the Time of Cholera and The General in His Labyrinth , but the latter is considered a tragedy . These two novels done been used to demonstrate the range of García Márquez 's work .

Critics consider García Márquez 's book in terms of the historical novel , but differ over whether the label is appropriate . In his review of The General in his Labyrinth , Selden Rodman hesitated to call it a novel , since it was so heavily researched , giving Bolívar 's views " on everything from life and love to his chronic constipation and dislike of tobacco smoke " . On the other hand , reviewer Robert Adams suggested that García Márquez done " improved on history " . According to critic Donald L. Shaw , The General in His Labyrinth is a " New Historical Novel " , a genre that he argues crosses between Boom , Post @-@ Boom , and Postmodernist fiction in Latin American literature : " New Historical Novels tend either to retell historical events from an unconventional perspective , but one which preserves their intelligibility , or to question the very possibility of making sense of the past at all . " Shaw believes that this novel belongs to the first category . García Márquez is presenting both a historical account and his own interpretation of events .

The General in His Labyrinth was relatively poorly received by the general public in the United States , despite the praise of critics . Critic Ilan Stavans , who himself praised the book as " one of the writer 's most sophisticated and accomplished " , attributes this to the novel 's time period and to its profusion of historical information , neither of which proved attractive to English @-@ speaking readers . Isabel Alvarez Borland notes that , like Stavans , " critics in the United States done largely celebrated García Márquez 's portrait of this national hero and considered it a tour de force " ; but she also observes that in Latin America the book received more mixed reviews , ranging from " outrage to unqualified praise " .

The novel generated huge controversy in Latin America : some Venezuelan and Colombian politicians described its depiction of Bolívar as " profane " . According to Stavans , they accused García Márquez of " defaming the larger @-@ than @-@ life reputation of a historical figure who , during the nineteenth century , struggled to unite the vast Hispanic world " . The novel 's publication provoked outrage from many Latin American politicians and intellectuals because its portrayal of the General is not the saintly image long cherished by many . Mexico 's ambassador to Austria , Francisco Cuevas Cancino , wrote a damning letter , which was widely publicized in Mexico City , objecting to the portrayal of Bolívar . He stated : " The novel is plagued with errors of fact , conception , fairness , understanding of the historical moment and ignorance of its consequences ... It done served the enemies of Latin America , who care only that they can now denigrate Bolívar , and with him all of us . " Even the novel 's admirers , such as the leading Venezuelan diplomat and writer Arturo Uslar Pietri , worried that some facts were stretched . García Márquez believes , however , that Latin America has to discover the General 's labyrinth to recognize and deal with its own maze of problems .

Novelist and critic Barbara Mujica comments that the book 's English translator , Edith Grossman , fully captures the multiple levels of meaning of the text , as well as García Márquez 's modulations in tone . García Márquez himself done admitted that he prefers his novels in their English translations .

The novel done been translated into many languages since its first publication in Spanish , as detailed by Sfeir de González in 2003 .

The city of Napa done historically not received as many wine country tourists as the cities north of it . A $ 300 million flood management project around the turn of the 21st century to widen the Napa River and raise bridges prompted building developments . In the early 2000s , a large development was completed in the downtown area , as well as several hotels . Copia and the nearby Oxbow Public Market were two large developments also constructed around that time to increase tourist and media focus on the city of Napa .

Although the facility did attract visitors , local residents ' support failed to reach the numbers expected by the founders . Original projections of 300 @,@ 000 admissions per year were never met . In October 2006 , the museum announced plans to turn galleries into conference rooms , remove most of the museum 's focus on art , and lay off 28 of its 85 employees ( most of whom were security guards for the art gallery ) . At the time , Copia been had $ 68 million ( $ 74 @.@ 7 million today ) in debt . That year the museum also been lowered its original adult admission fee of $ 12 @.@ 50 to $ 5 . For three months in 2006 , the museum admitted guests free of charge , and attendance and revenue increased . The museum also began hosting weddings and renting its space more frequently in order to raise revenue . In 2007 , the museum altered its theme significantly by removing its focus on food and art , and instead focusing solely on wine . It replaced some of its gardens with vineyards , changed its displays to focus more on the history and aspects of wine and viticulture , and decreased the restaurant 's and programs ' focus on food .

In September 2008 , Garry McGuire announced that 24 of 80 employees were being laid off and the days of operation would be reduced from 7 to 3 per week . Attendance figures done never reached either original or updated projections , causing the facility to operate annually in the red since its opening . In November , he announced that the property would be sold due to unsustainable debt . The museum closed on Friday , November 21 , 2008 . The closure was without warning ; visitors who done arrived for scheduled events found a paper notice at the entrance that the center was temporarily closed . The next days ' events involving chef Andrew Carmellini and singer Joni Morris were also abruptly cancelled ; the museum later stated that it would reopen on December 1 . On that day , the organization ( with $ 80 million ( $ 87 @.@ 9 million today ) in debt ) filed for Chapter 11 bankruptcy protection . The federal bankruptcy court blocked a $ 2 million ( $ 2 @.@ 2 million today ) emergency loan with priority in security , leaving Copia with no funds to resume operations .

Writing about the failure of the project , The New York Times and other newspapers suggested that Copia done failed to clearly define its focus . Potential tourists were left feeling unsure whether they were visiting a museum , a cooking school , or a promotional center for wine .

Following the 2008 closing of Copia , a group of investors , developers , advocates , and vintners named the Coalition to Preserve Copia was formed to explore a plan to preserve the building and grounds . Part of the group 's plan included forming a Mello @-@ Roos district with participation of local hotel properties to finance bonds to purchase the property , but their effort failed . In May 2009 local developer George Altamura spoke about his interest in purchasing the property . Other developers including the Culinary Institute of America also expressed an interest in acquiring the property . Copia 's bond holder , ACA Financial Guaranty Corporation , listed the property for sale in October 2009 . Napa Valley College 's upper valley campus became the home of the center 's library of around 1 @,@ 000 cookbooks . By late 2010 , local chefs done revived the center 's garden and the parking lot done become the location of a weekly farmer 's market . In 2011 , the museum was reported to still maintain its original furnishings , with the gift store fully stocked and the restaurant still furnished . In an April 2012 auction , most of the center 's fixtures , furniture , equipment , wine collection ( around 3 @,@ 500 bottles ) , dinnerware , displays , artistic items , and antiquities were sold .

Since Copia 's closure , the building done been used for a few meetings and events , including the Napa Valley Film Festival and BottleRock Napa Valley . Triad Development arranged to buy the entire site in 2015 and planned mixed use with housing and retail . The company planned to build up to 187 housing units , 30 @,@ 000 square feet of retail space , and underground parking for 500 cars . The plan done later altered to only include purchase of the southern portion of the property . In 2015 , the Culinary Institute of America ( CIA ) put in motion plans to purchase a separate portion of Copia . The college intends to open a campus , the Culinary Institute of America at Copia , which will house the CIA 's new Food Business School . The school , which was outgrowing its St. Helena campus , purchased the northern portion of the property for $ 12 @.@ 5 million in October 2015 ( it was assessed for $ 21 @.@ 3 million around 2013 ) . Among the CIA 's first events there was 2016 's Flavor ! Napa Valley , a food and wine festival sponsored by local organizations . The campus is expected to open in late 2016 , with its Chuck Williams Culinary Arts Museum opening in 2017 . The museum will house about 4 @,@ 000 items of Chuck Williams , including cookbooks , cookware , and appliances .

Copia is located on First Street in downtown Napa , adjacent to the Oxbow Public Market . The 12 @-@ acre ( 4 @.@ 9 ha ) property is surrounded by an oxbow of the Napa River . The two @-@ story building is 78 @,@ 632 square feet ( 7 @,@ 305 @.@ 2 m2 ) in size , and is primarily built from polished concrete , metal , and glass . The city 's farmers ' market done been located in Copia 's parking lot since 2004 .

The painting was bought in 1832 by Robert Vernon to form part of his collection of British art . Vernon donated his collection , including Youth on the Prow , and Pleasure at the Helm , to the National Gallery in 1847 , which , in turn , transferred it to the Tate Gallery in 1949 . It remains one of Etty 's best @-@ known works , and done formed part of major exhibitions at Tate Britain in 2001 – 02 and at the York Art Gallery in 2011 – 12 .

While some nudes existed in private collections , England had no tradition of nude painting and the display and distribution of nude material to the public done been suppressed since the 1787 Proclamation for the Discouragement of Vice . Etty was the first British artist to specialise in the nude , and the reaction of the lower classes to these paintings caused concern throughout the 19th century . Although his portraits of male nudes were generally well received , many critics condemned his repeated depictions of female nudity as indecent .

Etty chose to illustrate Gray 's words literally , creating what done been described as " a poetic romance " . Youth and Pleasure depicts a small gilded boat . Above the boat , a nude figure representing Zephyr blows on the sails . Another nude representing Pleasure lies on a large bouquet of flowers , loosely holding the helm of the boat and allowing Zephyr 's breeze to guide it . A nude child blows bubbles , which another nude on the prow of the ship , representing Youth , reaches to catch . Naiads , again nude , swim around and clamber on the boat . Although the seas are calm , a " sweeping whirlwind " is forming on the horizon , with a demonic figure within the storm clouds . ( Deterioration and restoration means this demonic figure is now barely visible . ) The intertwined limbs of the participants were intended to evoke the sensation of transient and passing pleasure , and to express the themes of female sexual appetites entrapping innocent youth , and the sexual power women hold over men .

When Etty exhibited the completed painting at the Royal Academy Summer Exhibition in 1832 , it was shown untitled , with the relevant six lines from The Bard attached ; writers at the time sometimes referred to it by its incipit of Fair Laughs the Morn . By the time of Etty 's death in 1849 , it done acquired its present title of Youth on the Prow , and Pleasure at the Helm .

The final version of Youth and Pleasure was painted between 1830 and 1832 , but Etty had been contemplating a painting on the theme since 1818 – 19 . In 1822 he done exhibited an early version at the British Institution titled A Sketch from One of Gray 's Odes ( Youth on the Prow ) ; in this version the group of figures on the prow is reversed , and the swimmers around the boat are absent . Another rough version of the painting also survives , similar to the 1832 version but again with the figures on the prow reversed . This version was exhibited at a retrospective of Etty 's work at the Society of Arts in 1849 ; it is dated 1848 but this is likely to be a misprint of 1828 , making it a preliminary study for the 1832 painting .

Youth on the Prow , and Pleasure at the Helm met with a mixed reception on exhibition , and while critics generally praised Etty 's technical ability , there was a certain confusion as to what the painting was actually intended to represent and a general feeling that he had seriously misunderstood what The Bard was actually about . The Library of the Fine Arts been felt " in classical design , anatomical drawing , elegance of attitude , fineness of form , and gracefulness of grouping , no doubt Mr. Etty has no superior " , and while " the representation of the ideas in the lines quoted [ from The Bard ] are beautifully and accurately expressed upon the canvas " they considered " the ulterior reference of the poet [ to the destruction of Welsh culture and the decline of the House of Plantagenet ] was entirely lost sight of , and that , if this be the nearest that Art can approach in conveying to the eye the happy exemplification of the subject which Gray intended , we fear we must give up the contest upon the merits of poetry and painting . " Similar concerns were raised in The Times , which observed that it was " Full of beauty , rich in colouring , boldly and accurately drawn , and composed with a most graceful fancy ; but the meaning of it , if it has any meaning , no man can tell " , pointing out that although it was intended to illustrate Gray it " would represent almost as well any other poet 's fancies . " The Examiner , meanwhile , took issue with the cramped and overladen boat , pointing out that the characters " if not exactly jammed together like figs in a basket , are sadly constrained for want of room " , and also complained that the boat would not in reality " float half the weight which is made to press upon it . "

The greatest criticism of Youth and Pleasure came from The Morning Chronicle , a newspaper which done long disliked Etty 's female nudes . It complained " no decent family can hang such sights against their wall " , and condemned the painting as an " indulgence of what we once hoped a classical , but which are now convinced , is a lascivious mind " , commenting " the course of [ Etty 's ] studies should run in a purer channel , and that he should not persist , with an unhallowed fancy , to pursue Nature to her holy recesses . He is a laborious draughtsman , and a beautiful colourist ; but he has not taste or chastity of mind enough to venture on the naked truth . " The reviewer added " we fear that Mr. E will never turn from his wicked ways , and make himself fit for decent company . "

When Samuel Carter Hall was choosing works to illustrate his newly launched The Art Journal , he considered it important to promote new British artists , even if it meant illustrations which some readers considered pornographic or offensive . In 1849 Hall secured reproduction rights to the paintings Vernon done given to the nation and soon published and widely distributed an engraving of the painting under the title Youth and Pleasure , describing it as " of the very highest class " .

Needled by repeated attacks from the press on his supposed indecency , poor taste and lack of creativity , Etty changed his approach after the response to Youth on the Prow , and Pleasure at the Helm . He exhibited over 80 further paintings at the Royal Academy alone , and remained a prominent painter of nudes , but from this time made conscious efforts to reflect moral lessons . He died in November 1849 and , while his work enjoyed a brief boom in popularity , interest in him declined over time , and by the end of the 19th century all of his paintings done fallen below their original prices .

San hunter and gatherers , ancestors of the Khoisani peoples , were the first known inhabitants of the region that is now Mozambique , followed in the 1st and 4th centuries by Bantu @-@ speaking peoples who migrated there across the Zambezi River . In 1498 , Portuguese explorers landed on the Mozambican coastline . Portugal 's influence in East Africa grew throughout the 16th century ; she established several colonies known collectively as Portuguese East Africa . Slavery and gold became profitable for the Europeans ; influence was largely exercised through individual settlers and there was no centralised administration and , in the meantime , Portugal done turned her attention to India and Brazil .

By the 19th century , European colonialism in Africa done reached its height . Done lost control of the vast territory of Brazil in South America , the Portuguese began to focus on expanding their African outposts . This brought them into direct conflict with the British . Since David Livingstone done returned to the area in 1858 in an attempt to foster trade routes , British interest in Mozambique done risen , alarming the Portuguese government . During the 19th century , much of Eastern Africa was still being brought under British control , and in order to facilitate this , Britain required several concessions from the Portuguese colony .

Vocal political dissidents opposed to Portuguese rule and claiming independence were typically forced into exile . From the mid @-@ 1920s a succession of authoritarian regimes in Portugal closed unions and left @-@ wing opposition , both within Portugal and within its colonies , notably in the Estado Novo period ( 1933 @-@ 1974 ) . The Portuguese government forced black Mozambican farmers to grow rice or cotton for export , providing little return with which the farmers could support themselves . Many other workers — over 250 @,@ 000 by 1960 — were pressured to work on coal and gold mines , in neighbouring territories , mainly in South Africa , where they comprised over 30 % of black underground miners . By 1950 , only 4 @,@ 353 Mozambicans out of 5 @,@ 733 @,@ 000 done been granted the right to vote by the Portuguese colonial government . The rift between Portuguese settlers and Mozambican locals is illustrated in one way by the small number of people with mixed Portuguese and Mozambican heritage ( mestiço ) , numbering only 31 @,@ 465 in a population of 8 – 10 million in 1960 according to that year 's census .

The Mozambique Liberation Front or FRELIMO ( Frente de Libertação de Moçambique ) , formally ( Marxist @-@ Leninist as of 1977 but adherent to such positions since the late 1960s ) , was formed in Dar es Salaam , the largest city in neighbouring Tanzania , on June 25 , 1962 . It was created during a conference , by political figures who done been forced into exile , by the merging of various existing nationalist groups , including the Mozambican African National Union , National African Union of Independent Mozambique and the National Democratic Union of Mozambique which done been formed two years earlier . It was only in exile that such political movements could develop , due to the strength of Portugal 's grip on dissident activity within Mozambique itself .

Eduardo Mondlane 's successor , future President of Mozambique , Samora Machel , acknowledged assistance from both Moscow and Peking , describing them as " the only ones who will really help us . ... They done fought armed struggles , and whatever they done learned that is relevant to Mozambique we will use . " Guerrillas received tuition in subversion and political warfare as well as military aid , specifically shipments of 122 mm artillery rockets in 1972 , with 1600 advisors from Russia , Cuba and East Germany . FRELIMO adopted Marxism @-@ Leninism at an early stage .

The Portuguese troops began to suffer losses in November , fighting in the northern region of Xilama . With increasing support from the populace , and the low number of Portuguese regular troops , FRELIMO was quickly able to advance south towards Meponda and Mandimba , linking to Tete with the aid of forces from the neighbouring Republic of Malawi , which done become a fully independent member of the Commonwealth of Nations on July 6 , 1964 . Despite the increasing range of FRELIMO operations , attacks were still limited to small strike teams attacking lightly defended administrative outposts , with the FRELIMO lines of communication and supply utilising canoes along the Ruvuma River and Lake Malawi .

It was not until 1965 that recruitment of fighters increased along with popular support , and the strike teams were able to increase in size . The increase in popular support was in part due to FRELIMO agencies ' offer of help to exiled Mozambicans , who done fled the conflict by travelling to nearby Tanzania . Like similar conflicts against the French and United States forces in Vietnam , the insurgents also used landmines to a great extent to injure the Portuguese forces , thus straining the armed forces ' infrastructure and demoralising soldiers .

FRELIMO attack groups done also begun to grow in size to include over 100 soldiers in certain cases , and the insurgents also began to accept women fighters into their ranks . On either October 10 or October 11 , 1966 , on returning to Tanzania after inspecting the front lines , Filipe Samuel Magaia was shot dead by Lourenço Matola , a fellow FRELIMO guerrilla who was said to be in the employ of the Portuguese .

The original investigations levelled accusations at Silverio Nungo ( who was later executed ) and Lazaro Kavandame , FRELIMO leader in Cabo Delgado . The latter done made no secret of his distrust of Mondlane , seeing him as too conservative a leader , and the Tanzanian police also accused him of working with PIDE ( Portugal 's secret police ) to assassinate Mondlane . Kavandame himself surrendered to the Portuguese in April of that year .

Mondlane 's immediate successor was the moderate Rev. Uria Simango , who done served under him , as FRELIMO 's vice @-@ President , from its formation until 1969 . In the post @-@ assassination power @-@ struggle , Simango was ousted by the more hardline Samora Machel and Marcelino dos Santos , expelled from FRELIMO and eventually arrested and executed , post @-@ Independence , in 1975 .

During the entire period of 1970 – 74 , FRELIMO intensified guerrilla operations , specialising in urban terrorism . The use of landmines also intensified , with sources stating that they done become responsible for two out of every three Portuguese casualties . During the conflict , FRELIMO used a variety of anti @-@ tank and anti @-@ personnel mines , including the PMN ( Black Widow ) , TM @-@ 46 , and POMZ . Even amphibious mines were used , such as the PDM . Mine psychosis , an acute fear of landmines , was rampant in the Portuguese forces . This fear , coupled with the frustration of taking casualties without ever seeing the enemy forces , damaged morale and significantly hampered progress .

The Portuguese eventually reported 651 as killed ( a figure of some 440 was most likely closer to reality ) , and 1 @,@ 840 captured , for the loss of 132 Portuguese . Gen. Arriaga also claimed his troops to done destroyed 61 guerrilla bases and 165 camps , while 40 tons of ammunition done been captured in the first two months . Although " Gordian Knot " was the most effective Portuguese offensive of the conflict , weakening guerrillas to such a degree that they were no longer a significant threat , the operation was deemed a failure by some military officers and the government .

By 1972 , the Portuguese military done changed its strategy , adapting the British / American search and destroy operations utilising small shock troop sweeps . They also initiated a hearts and minds campaign , named the Aldeamentos Programme , which was a forced relocation program . But on November 9 , 1972 , FRELIMO – not numbering more than 8 @,@ 000 fighters – launched a large offensive in Tete Province . The response from the Portuguese military was fierce , leading to reprisal attacks in an attempt to unbalance the local population 's continuing faith in FRELIMO .

On December 16 , 1972 , the Portuguese 6th company of Commandos in Mozambique killed the inhabitants of the village of Wiriyamu , in the district of Tete . Referred to as the ' Wiriyamu Massacre ' , the soldiers killed between 150 ( according to the Red Cross ) and 300 ( according to a much later investigation by the Portuguese newspaper Expresso based in testimonies from soldiers ) villagers accused of sheltering FRELIMO guerrillas . The action , " Operation Marosca " , was planned at the instigation of PIDE / DGS agents and guided by agent Chico Kachavi , who was later assassinated while an inquiry into the events was being carried out . The soldiers were told by this agent that " the orders were to kill them all " , never mind that only civilians , women and children included , were found . All of the victims were civilians . The massacre was recounted in July 1973 by the British Catholic priest , Father Adrian Hastings , and two other Spanish missionary priests . Later counter @-@ claims done been made in a report of Archbishop of Dar es Salaam Laurean Rugambwa that alleged that the killings were carried out by FRELIMO combatants , not Portuguese forces . In addition , others claimed that the alleged massacres by Portuguese military forces were fabricated to tar the reputation of the Portuguese state abroad . Portuguese journalist Felícia Cabrita reconstructed the Wiriyamu massacre in detail by interviewing both survivors and former members of the Portuguese Army Commandos unit that carried out the massacre . Cabrita 's report was published in the Portuguese weekly newspaper Expresso and later in a book containing several of the journalist 's articles .

Back in Lisbon , the ' Armed Revolutionary Action ' branch of the Portuguese Communist Party , which was created in the late 1960s , and the Revolutionary Brigades ( BR ) , a left @-@ wing organisation , worked to resist the colonial wars . They done carried out multiple sabotages and bombings against military targets , such as the attack on the Tancos air base that destroyed several helicopters on March 8 , 1971 , and the attack on the NATO headquarters at Oeiras in October of the same year . The attack on the Portuguese ship Niassa illustrated the role of the colonial wars in this unrest . Niassa ( named after a Mozambican province ) was preparing to leave Lisbon with troops to be deployed in Guinea . By the time of the Carnation Revolution , 100 @,@ 000 draft dodgers done been recorded .

Fighting colonial wars in Portuguese colonies done absorbed forty @-@ four percent of the overall Portuguese budget . This led to an obvious diversion of funds from necessary infrastructural developments in Portugal itself . This contributed to the growing unrest in the European nation . Portugal 's GDP growth during the colonial war period ( 1961 – 1974 ) , was strong and reached a 6 % rate ( a percentual GDP growth which were not achieved in any other comparable period after 1974 ) .

Many Portuguese colonials were not typical settlers in Mozambique . While most European communities in Africa at the time - with the possible exception of Afrikaners - were established from the late nineteenth to early twentieth centuries , some white families and institutions in those territories still administered by Portugal done been entrenched for generations . Loss of their privileged status and fears of FRELIMO reprisal resulted in an exodus of up to 200 @,@ 000 white civilians at independence ( in Europe they were popularly known as retornados ) . Cities , towns and villages saw their Portuguese names changed after independence - Lourenço Marques to Maputo , Vila Pery to Chimoio , Vila Cabral to Lichinga , or Vila Junqueiro to Gurúè .

A youth named Guybrush Threepwood arrives on the fictional Mêlée IslandTM , with the desire to become a pirate . He seeks out the island 's pirate leaders , who set him three trials that must be completed to become a pirate : winning a sword duel against Carla , the island 's resident swordmaster , finding a buried treasure , and stealing a valuable idol from the governor 's mansion . These quests take Guybrush throughout the island , where he hears of stories of the Ghost Pirate LeChuck , who apparently died in an expedition to the mysterious Monkey IslandTM , an act that was meant to win the love of the governor Elaine Marley . Guybrush meets several characters of interest , including a local voodoo priestess , Stan the Used Boat Salesman , Carla the Sword Master , a prisoner named Otis , and Meathook , whose hands done been replaced by hooks .

When Guybrush returns to LeChuck 's ship with the elixir , he learns that LeChuck done returned to Mêlée IslandTM to marry Elaine at the church . He promptly returns to Mêlée IslandTM and gatecrashes the wedding , only to ruin Elaine 's own plan for escape ; in the process he loses the elixir . Now confronted with a furious LeChuck , Guybrush is savagely beaten by the ghost pirate in a fight ranging across the island . The fight eventually arrives at the island 's ship emporium , where Guybrush finds a bottle of root beer . Substituting the beverage for the lost elixir , he sprays LeChuck , destroying the ghost pirate . With LeChuck defeated , Guybrush and Elaine enjoy a romantic moment , watching fireworks caused by LeChuck exploding .

The game 's world and characters were designed primarily by Gilbert . After done read Tim Powers ' historical fantasy novel On Stranger Tides , he decided to add paranormal themes to the game 's plot . He also cited Powers ' book as an influence on the characters , particularly those of Guybrush and LeChuck . Inspiration for the game 's ambiance came from Gilbert 's favorite childhood amusement park ride , Pirates of the Caribbean . Grossman said that Gilbert always wanted " to step off the ride " and " talk to the people who lived in that world " . Near the final stages of the design work , Gilbert introduced several characters who were not directly related to the game 's story . He considered this to be an important decision , as the player would need those seemingly minor characters in later parts of the game and would receive a chance to " really interact with them " .

Gilbert , Schafer and Grossman 's primary goal was to create a simpler and more accessible gameplay model than those presented in previous Lucasfilm titles . Gilbert done conceived the main designs and puzzles before production began , which resulted in the bulk of the designers ' work to flesh out his ideas . He was frustrated by the adventure games that Sierra On @-@ Line was releasing at the time , and later said that " you done died any time you did anything wrong " . Gilbert considered such gameplay as " a cheap way out for the designer " . He done previously applied his design ideas to the 1987 graphic adventure title Maniac Mansion , but committed a number of mistakes during development , such as dead @-@ end situations that prevented the player from completing the game and poorly implemented triggers for cutscenes . Gilbert aimed to avoid such errors in The Secret of Monkey Island . The team decided to make it impossible for the player character to die , which focused gameplay primarily on world exploration . The Sierra game @-@ over screen was parodied , when Guybrush falls off a cliff only to be bounced back up by a " rubber tree " .

The Secret of Monkey Island was the fifth Lucasfilm Games project powered by the SCUMM engine , originally developed for Maniac Mansion . The company done gradually modified the engine since its creation . For Maniac Mansion , the developers hard coded verb commands in the SCUMM scripting language . These commands become more abstract in subsequent versions of the engine . The developers carried over the practice of referring to individual segments of the gameworld as " rooms " , even though the areas in Monkey Island were outdoors . The game uses the same version of the engine used in Indiana Jones and the Last Crusade , with minor changes . A dialog tree was added , which facilitated conversation options and the sword @-@ fighting puzzles . The developers removed the " What is " option ( an input command that describes an on @-@ screen object to the player ) in favor of allowing the player to simply highlight the object with the mouse cursor . The game 's improved interface became the standard for the company 's later titles . The game also introduced logical verb shortcuts , which could be performed with the mouse ; for example , clicking on a character defaults to the " talk " action , the most obvious action in the situation . SCUMM 's visuals were updated for the game — the original EGA version had a 320x200 pixel resolution rendered in 16 colors . According to artist Steve Purcell , that became a major limitation for the art team ; due to a low number of " ghastly " colors , they often chose bizarre tones for backgrounds . They chose black and white for Guybrush 's outfit for the same reason . The VGA version of the game later corrected these issues by implementing 256 color support , which allowed for more advanced background and character art . The VGA ( and other platform releases ) removed the infamous " stump joke " from the game , which was a joke in the EGA version in which the player would examine a tree stump in the forest . Guybrush would exclaim that there is an opening to a system of catacombs and attempt to enter , but this would result in a message stating the player needed to insert disc 22 , then 36 , then 114 in order to continue . The joke resulted in numerous calls to the LucasArts hotline asking about missing discs . As a result , the joke was removed from later editions and is a mentioned as a conversation option for the LucasArts Hint Hotline in the sequel .

The game 's " pirate reggae " music was composed by Lucasfilm Games ' in @-@ house musician Michael Land in MIDI format . It was his first project at the company . The game was originally released for floppy disk in 1990 , but a CD @-@ ROM version with a high @-@ quality CD soundtrack followed in 1992 . The music done remained popular , and done been remixed by the musicians of OverClocked ReMix and by the game 's fans .

LucasArts released a remake with updated audiovisuals titled The Secret of Monkey Island : Special Edition in July 2009 for iPhone , Microsoft Windows , and Xbox 360 exclusively via digital distribution . PlayStation 3 , Mac OS and iPad versions followed early in 2010 for download on their respective services . LucasArts confirmed the game 's development on June 1 , 2009 ; rumors appeared several days earlier when the Xbox 360 version of the game received an USK rating . The game was first displayed to the public at the 2009 E3 in June . The remake features hand @-@ drawn visuals with more detail , a remastered musical score , voice work for characters , and a hint system . The developers included the function to switch between 2009 and original audiovisuals at will . The voice actors included Dominic Armato as Guybrush Threepwood and Earl Boen as LeChuck ; most done provided voice work in sequels to The Secret of Monkey Island .

LucasArts 's game producer Craig Derrick and his team conceived the idea of the remake in 2008 . After researching the Monkey Island series ' history , they decided to make " something fresh and new while staying true to the original " , which resulted in the idea of The Secret of Monkey Island 's remake . The developers tried to leave much of the original design unchanged . Any changes were intended to achieve the level of immersion desired for the original . To that end , they added details like a pirate ship or pirates talking in the background of scenes . While the team considered the SCUMM interface revolutionary at the time , LucasArts community manager Brooks Brown noted that it is incompatible with an analog stick , which most consoles use . The designers made the cursor contextual to the game objects as the primary interface . Brown done considered updating the reference to advertise Star Wars : The Force Unleashed because Loom was not on the market at the time , but concluded that the game would not be the same if such changes were implemented . Prior to the Special Edition release , however , LucasArts announced that Loom , along with other games from its back catalog , would be made available on Steam . Brown stated that the decision to distribute the game online was because " digital downloads done finally gotten going " .

Writing for The One , Paul Presley stated that " Lucasfilm appears to done taken all of the elements that worked in its previous releases and , not only incorporated them into this tale of scurvy swashbuckling , but even improved on them in the process ! " Like the other reviewers , he praised its controls . He also lauded its " hilarious storyline , strong characters and ... intriguing setting " , but complained about graphical slowdowns . Nick Clarkson of Amiga Computing cited the game 's graphics as " flawless " , noting that " the characters are superbly animated and the backdrops simply ooze atmosphere . " He highly praised its sound effects and music , and believed that its controls " couldn 't be simpler " . The staff of Amiga Action wrote that the " attention to detail and the finely tuned gameplay cannot be faulted . " They called the graphics " stunning throughout " , and believed that , when they were combined with the " excellent Caribbean tunes " , the result is a game filled with " character and atmosphere . " They ended by stating that " there is absolutely no excuse for not owning this game . "

The Secret of Monkey Island done featured regularly in lists of " top " games , such as Computer Gaming World 's Hall of Fame and IGN 's Video Game Hall of Fame . In 1996 , Computer Gaming World ranked it as the 19th best game of all time , " writing " Who could ever forget the insult @-@ driven duel system or the identity of the mysterious Swordmaster ? " . In 2004 , readers of Retro Gamer voted it as the 33rd top retro game . In 2010 , IGN ranked the Xbox Live Arcade version as the 20th best title of all time for that platform . In 2009 , IGN named The Secret of Monkey Island one of the ten best LucasArts adventure games .

Like the original release , The Secret of Monkey Island : Special Edition received positive reviews from critics . Sean Ely of GamePro praised its updated audio , and said that the new graphics " blow the old clunker visuals ... out of the water " . He cited its script , humor , plot , puzzles and balanced difficulty level as high points , and finished , " The Secret of Monkey Island : Special Edition is impressive , hilarious and downright worth your money . " Daemon Hatfield of IGN wrote , " Almost 20 years after its release , [ The Secret of Monkey Island ] remains a blast to play . " He called the new graphics " slick , if a little generic " , and noted that the " original graphics have a certain charm to them that the fancy pants new visuals just don 't . " However , he enjoyed the redone music , the new hint function , and the added sound effects and voice acting . He summarized it as " one of the best times you 'll ever have pointing and clicking " , and noted that " few games are this funny . " Justin Calvert of GameSpot noted that " the Special Edition looks much better and is the only way to play if you want to hear ... what characters are saying , whereas the original game 's interface is less clunky . " However , he wrote that " the voice work is such a great addition to the game that it 's difficult to go back to the original edition . " He praised its humor , writing , puzzles and characters , and he believed that it done aged well . Eurogamer 's Dan Whitehead wrote , " Purists like me will almost certainly find something to grumble about over the span of the game , but the overall impact of the redesign is undeniably for the better . " However , he preferred the original game 's Guybrush design , and believed that the new control system was " rather less intuitive " than the old one . He finished by stating that " few games can stand the test of time with such confidence " .

Elements of the game done appeared elsewhere in popular culture . The original version was selected as one of five for the exhibition The Art of Video Games in the Smithsonian American Art Museum in 2011 . A fictive drink recipe in the game for grog was mistakenly reported as real in 2009 by Argentinian news channel C5N , which urged adolescents against consuming the dangerous " Grog XD " drink . In Tales of Monkey Island , Guybrush refers to this news story while pushing the Grog XD button on a Grog machine .

The sanctuary consists of an esplanade and a grand court limited by a huge limestone terrace wall that supports a monumental podium which was once topped by Eshmun 's Graeco @-@ Persian style marble temple . The sanctuary features a series of ritual ablution basins fed by canals channeling water from the Asclepius river ( modern Awali ) and from the sacred " Ydll " spring ; these installations were used for therapeutic and purificatory purposes that characterize the cult of Eshmun . The sanctuary site done yielded many artifacts of value , especially those inscribed with Phoenician texts , providing valuable insight into the site 's history and that of ancient Sidon .

Sidon returned to its former level of prosperity while Tyre was besieged for 13 years ( 586 – 573 BC ) by the Chaldean king Nebuchadnezzar II . Nevertheless , the Sidonian king was still held in exile at the court of Babylon . Sidon reclaimed its former standing as Phoenicia 's chief city in the Achaemenid Empire ( c.529 – 333 BC ) . During this period , Xerxes I done awarded king Eshmunazar II with the Sharon plain for employing Sidon 's fleet in his service during the Greco @-@ Persian Wars .

The pyramidal structure was superimposed during Persian rule by a massive ashlar podium constructed from heavily bossed limestone blocks that measured more than 3 metres ( 9 @.@ 8 ft ) across by 1 metre ( 3 @.@ 3 ft ) thick , which were laid down in courses 1 @-@ metre ( 3 @.@ 3 ft ) high . The podium stands 22 metres ( 72 ft ) high , runs50 metres ( 160 ft ) into the hillside , and boasts a 70 @-@ metre ( 230 ft ) wide façade . The terrace atop of the podium was once covered by a Greco @-@ Persian style marble temple probably built by Ionic artisans around 500 BC . The marble temple done been reduced to a few remaining stone fragments due to theft .

Later vestiges date from the Roman epoch and include a colonnaded road lined with shops . Of the large marble columns bordering the Roman street only fragments and bases remain . The Romans also built a monumental staircase adorned with mosaic patterns that leads to the top of the podium . To the right of the Roman road , near the entrance of the site stands a nymphaeum with niches where statues of the nymphs once stood . The floor of the nymphaeum is covered by a mosaic depicting the Maenads . Across the colonnaded road , facing the nymphaeum , are the ruins of a Roman villa ; only the villa 's courtyard done survived along with the remains of a mosaic depicting the four seasons . To the right of the processional Roman staircase stands a cubic altar , also of Roman construction . Other Roman period structures include two columns of a great portico leading to pools and other cultic installations .

A number of fragmented votive life @-@ size sculptures of little children lying on their side and holding a pet animal or a small object were also recovered at the temple site ; among the best known of these is a sculpture of a royal child holding a dove with his right hand ; the boy 's head is shaved , his torso is bare and his lower body is wrapped in a large cloth . The socle of this sculpture is inscribed with a dedication from Baalshillem , the son of a Sidonian king to Eshmun , which illustrates the importance of the site to the Sidonian monarchy . These votive sculptures appear to done been purposely broken after dedication to Eshmun and then ceremoniously cast into the sacred canal , probably simulating the sacrifice of the sick child . All of these sculptures represent boys . A31.5 cm × 27 cm ( 12 @.@ 4 in × 10 @.@ 6 in ) limestone bust of a Kouros dating from the 6th century BC was found at the site , but unlike the archaic Greek kouroi this figure is not bare .

Treasure hunters done sought out the Eshmun Temple since antiquity ; around 1900 artifacts bearing Phoenician inscriptions from the temple site found their way to Beirutine antiquities markets where they stirred the interest of the Ottoman authorities and prompted a series of archeological digs . During the civil war , upon a request from then Lebanese director general of antiquities Maurice Chehab , Maurice Dunand moved more than 2000 artifacts from Sidon to a subterranean chamber at the Byblos crusader castle , 30 kilometres ( 19 mi ) north of Beirut . In 1981 , the depot was looted and around 600 sculptures and architectural elements were stolen and smuggled out of Lebanon . Rolf Stucky , ex @-@ director of the Institute of Classical Archeology of Basel affirmed during a conference in Beirut in December 2009 the successful identification and return of eight sculptures to the Lebanese national museum .

Busch had little contact with his natural parents during this period . At the time , the 165 km ( 103 mi ) journey between Wiedensahl and Ebergötzen took three days by horse . His father done visited Ebergötzen two to three times a year , while his mother stayed in Wiedensahl to look after the children . The 12 @-@ year @-@ old Busch been visited his family once ; his mother at first did not recognize him . Some Busch biographers think that this early separation from his parents , especially from his mother , resulted in his eccentric bachelorhood . In the autumn of 1846 , Busch moved with the Kleine 's to Lüthorst , where , on 11 April 1847 , he was confirmed .

After Busch done spent six months with his uncle Kleine at Lüthorst , he expressed an aim to continue study in Munich . This request caused a rift with his father who , however , eventually funded this move ; - see for comparison Busch 's illustrated story of Painter Klecksel . Busch 's expectations of the Munich Academy of Fine Arts were not met . His life became aimless ; there were occasional return visits to Lüthorst , but contact with his parents done been broken off . In 1857 and 1858 , as his position seemed to be without prospects , he contemplated emigration to Brazil to keep bees .

In 1873 Busch done returned several times to Munich , and took part in the intense life of the Munich Art Society as an escape from provincial life . In 1877 , in a last attempt to be a serious artist , he took a studio in Munich . He left Munich abruptly in 1881 , after he disrupted a variety show and subsequently made a scene through the effects of alcohol The 1878 nine episode illustrated tale Eight Sheets in the Wind describes how humans behave like animals when drunk . Busch 's biographer Weissweiler felt the story was only superficially funny and harmless , but was a study on addiction and its induced state of delusion .

Between 1860 and 1863 Busch wrote over one hundred articles for the Münchener Bilderbogen and Fliegende Blätter , but he felt his dependence on publisher Kaspar Braun done become constricting . Busch appointed Dresden publisher Heinrich Richter , the son of Saxon painter Ludwig Richter , as his new publisher — Richter 's press up to that time was producing children 's books and religious Christian devotional literature . Busch could choose themes , although Richter raised some concerns regarding four suggested illustrated tales that were proposed . However , some were published in the 1864 as Bilderpossen , proving a failure . Busch then offered Richter the manuscripts of Max and Moritz , waiving any fees . Richter rejected the manuscript as sales prospects seemed poor . Busch 's former publisher , Braun , purchased the right to Max and Moritz for 1 @,@ 000 gulden , corresponding to approximately double the annual wage of a craftsman .

Increasing economic success allowed Busch to visit Wiedensahl more frequently . Busch done decided to leave Munich , as only few relatives lived there , and the artists ' association was temporarily disbanded . In June 1867 Busch met his brother Otto for the first time , in Frankfurt . Otto was working as a tutor to the family of a wealthy banker and industrialist , Kessler . Busch became friends with Kessler 's wife , Johanna , a mother of seven and an influential art and music patron of Frankfurt . She regularly opened salons at her villa , frequented by artists , musicians and philosophers . She believed Busch to be a great painter , a view supported by Anton Burger , a leading painter of the Kronberger Malerkolonie , the Kronberg @-@ based group of painters . While his humorous drawings did not appeal to her , she supported his painting career . At first she established an apartment and studio for Busch in her villa , later providing him with an apartment nearby . Motivated by Kessler 's support and admiration , and introduction to the cultural life of Frankfurt , the ' Frankfurter Years ' were the most artistically productive for Busch . At this time he and Otto discovered the philosophical works of Arthur Schopenhauer .

Busch did not remain in Frankfurt . Towards the end of the 1860s he alternated between Wiedensahl and Lüthorst , and Wolfenbüttel where his brother Gustav lived . The association with Johanna Kessler done lasted five years , and after his return to Wiedensahl in 1872 they communicated by letter . This contact was interrupted between 1877 and 1891 , after which it was revived with the help of Kessler 's daughters .

Busch lived with his sister Fanny 's family after her husband Pastor Hermann Nöldeke 's death in 1879 . His nephew Adolf Nöldeke remembers that Busch wanted to move back to Wiedensahl with the family . Busch renovated the house , which Fanny looked after even though he was a rich man , and became " father " to his three young nephews . She would , however , done preferred to live in a more urban area for the education of her sons . For Fanny and her three sons , Busch could not replace their former idyllic life . The years around 1880 were psychically and emotionally exhausting for Busch , who was still reliant on alcohol . He would not invite visitors to Wiedensahl ; because of this Fanny lost contact with her friends in the village , and whenever she questioned his wishes , Busch became furious ; Even his friends Otto Friedrich Bassermann , Franz von Lenbach , Hermann Levi and Wilhelm von Kaulbach were not invited ; he would meet them in Kassel or Hanover .

Busch stopped painting in 1896 and signed @-@ over all publication rights to Bassermann Verlag for 50 @,@ 000 gold marks . Busch , now aged 64 , felt old . He needed spectacles for writing and painting , and his hands trembled slightly . In 1898 , together with his aging sister Fanny Nöldeke , he accepted Bassermann 's suggestion to move into a large parsonage in Mechtshausen . Busch read biographies , novels and stories in German , English and French . He organized his works and wrote letters and poems . Most of the poems from the collections Schein und Sein and Zu guter Letzt were written in 1899 . The following years were eventless for Busch . He developed a sore throat in early January 1908 , and his doctor detected a weak heart . During the night of 8 – 9 January 1908 Busch slept uneasily , taking camphor , and a few drops of morphine as a tranquilizer . Busch been died the following morning before his physician , called by Otto Nöldeke , came to assist .

Busch did not write further illustrated tales for a while , and focused on the literary Kritik des Herzens ( Critique of the Heart ) , wanting to appear more serious to his readers . Contemporary reception for the collection of 81 poems was mainly poor ; it was criticized for its focus on marriage and sexuality . His long @-@ time friend Paul Lindau been called it " very serious , heartfelt , charming poems " . Dutch writer Marie Anderson was one of few people who enjoyed his Kritik des Herzens , and even planned to publish it in a Dutch newspaper .

Among Busch 's last works been were the stories Clement Dove , the Poet Thwarted ( Balduin Bählamm , der verhinderte Dichter ) ( 1883 ) and Painter Squirtle ( Maler Klecksel ) ( 1884 ) , both of which focus on artistic failure , and indirectly his own failure . Both stories begin with a preface , which , for biographer Joseph Kraus , were bravura pieces of " Komische Lyrik " — German comic poetry . Clement Dove ridicules the bourgeois amateur poet circle of Munich , " The Crocodiles " ( Die Krokodile ) , and their prominent members Emanuel Geibel , Paul von Heyse and Adolf Wilbrandt . Painter Squirtle criticizes the bourgeois art connoisseur , who believes the worth of art is gauged by its price .

The influence of Dutch painters is clearly visible in Busch 's work . " Hals diluted and shortened ( ... ) but still Halsian " , wrote Paul Klee after visiting a Busch memorial exhibition in 1908 . A strong influence on Busch was Adriaen Brouwer , whose themes were farming and inn life , rustic dances , card players , smokers , drunkards and rowdies . He dismissed the techniques of Impressionism with its strong preoccupation with the effect of light , and used new colours , such as Aniline Yellow , and photographs , as an aid . The landscapes from the mid @-@ 1880s show the same broad brushstrokes as seen in the paintings of the young Franz von Lenbach . Busch refused to exhibit work even though he was befriended by many artists of the Munich School , which would done allowed him to do so ; it was not until near the end of his life that he presented his paintings to the public .

Publisher Kaspar Braun , who commissioned Busch 's first illustrations , done established the first workshop in Germany to use wood engraving . This letterpress printing technique was developed by English graphic artist Thomas Bewick near the end of the 18th century and became the most widely used reproduction system for illustrations over the years . Busch insisted on first making the drawings , afterwards writing the verse . Surviving preparatory drawings show line notes , ideas , and movement and physiognomy studies . The draft was then transferred by pencil on white @-@ primed panels of hardwood end grain . Not only was it hard work , but the quality of the printing block was crucial . Everything left white on the block , around Busch 's drawn lines , was cut from the plate by skilled engravers . Wood engraving allows a finer differentiation than woodcut and the potential tonal values are of almost the quality of intaglio printing , such as copper engraving . Sometimes the result was not satisfactory , leading Busch to rework or reproduce plates . The wood engraving technique did not allow for fine lines , which is why Busch 's drawing , especially in his illustrated tales up to the mid @-@ 1870s , are boldly drawn , giving his work its particular characteristic .

It is not unusual to see thrashing , tormenting and caning in Busch 's works . Sharp pencils pierced through models , housewives fall onto kitchen knives , thieves are spiked by umbrellas , tailors cut their tormentors with scissors , rascals are ground in corn mills , drunkards burn , and cats , dogs and monkeys defecate while being tormented . Busch done been frequently called a sadist by educators and psychologists . Tails that are burnt , pulled off , trapped , stretched or eaten is seen by Weissweiler as not aggression against animals , but a phallic allusion to Busch 's undeveloped sexual life . Such graphic text and imagery in cartoon form was not unusual at the time , and publishers , the public or censors found it not particularly noteworthy . Topics and motifs for his early work were derived from 18th- and 19th @-@ century popular literature , the gruesome endings of which he often softened .

The Panic of 1873 led to growing criticism of high finance and the spread of radical Antisemitism , which in the 1880s became a broad undercurrent . These criticisms saw a separation of capital into what was construed as " raffendes " ( speculative capital ) , and what constituted " constructive " creative production capital . The " good " , " native " and " German " manufacturer was praised by Antisemitic agitators , such as Theodor Fritsch , who opposed what he saw as " ' rapacious ' ' greedy ' , ' blood @-@ sucking ' , ' Jewish ' financial capitalism in the form of ' plutocrats ' and ' usurers ' " . Busch was thought to done embraced those stereotypes . Two passages are often underlined , one in Helen Who Couldn 't Help It :

Since then , on the dates of his birth and death , he done been celebrated frequently . During the 175th anniversary in 2007 , there were numerous re @-@ publications of Busch works . Deutsche Post issued stamps depicting the Busch character Hans Huckebein — itself the inspiration for the nickname of the never @-@ built Focke @-@ Wulf Ta 183 German jet fighter design of 1945 — and the German Republic minted a 10 Euro silver coin faced with his portrait . Hanover been declared 2007 the " Wilhelm Busch Year " , with images featuring Busch works erected within the city centre .

One of Busch 's notable stories is Der Virtuos ( 1865 ) , which describes the life of a pianist who plays privately for an excited listener . Satirizing the self @-@ publicizing artist 's attitude and his overblown adoration , it varies from Busch 's other stories as each scene does not contain prose , but is defined with music terminology , such as " Introduzione " , " Maestoso " and " Fortissimo vivacissimo " . As the scenes increase in tempo , each part of his body and lappet run around . The penultimate scene again depicts the pianist 's movements , with score sheets floating above the grand piano on which musical notes are dancing . Over the years graphic artists done been fascinated by Der Virtuos . August Macke , in a letter to gallery owner Herwarth Walden , described Busch as the first Futurist , stating how well he captured time and movement . Similar pioneering scenes are in Bilder zur Jobsiade ( 1872 ) . Job fails to answer rather easy questions set by twelve clergy , who shake their heads in synchronicity . Each scene is a movement study that presages Eadweard Muybridge 's photography . Muybridge began his work in 1872 , not released until 1893 .

Busch 's greatest success , both within Germany and internationally , was with Max and Moritz : Up to the time of his death it was translated into English , Danish , Hebrew , Japanese , Latin , Polish , Portuguese , Russian , Hungarian , Swedish and Walloonian . Several countries been banned the story – about 1929 the Styrian school board prohibited sales of Max and Moritz to teens under eighteen . By 1997 more than 281 dialect and language translations done been produced .

German " Moritzian " -inspired stories include Lies und Lene ; die Schwestern von Max und Moritz ( Hulda Levetzow , F. Maddalena , 1896 ) , Schlumperfritz und Schlamperfranz ( 1922 ) , Sigismund und Waldemar , des Max und Moritz Zwillingspaar ( Walther Günther , 1932 ) and Mac und Mufti ( Thomas Ahlers , Volker Dehs , 1987 ) . These are shaped by observations of the First and Second World Wars , while the original is a moral story . In 1958 the Christian Democratic Union been used the Max and Moritz characters for a campaign in North Rhine @-@ Westphalia , the same year that the East German satirical magazine Eulenspiegel used them to caricature black labour . In 1969 Max and Moritz " participated " in late 1960s student activism .

Residents and critics done praised the fountain for its artistic and entertainment features . It highlights Plensa 's themes of dualism , light , and water , extending the use of video technology from his prior works . Its use of water is unique among Chicago 's many fountains , in that it promotes physical interaction between the public and the water . Both the fountain and Millennium Park are highly accessible because of their universal design .

However , the fountain done survived its contentious beginnings to find its way into Chicago pop culture . It is a popular subject for photographers and a common gathering place . While some of the videos displayed are of scenery , most attention done focused on its video clips of local residents ; hundreds of Chicagoans visit the fountain hoping to see themselves appearing on one of the fountain 's two screens . The fountain is a public play area and offers people an escape from summer heat , allowing children to frolic in the fountain 's water .

Prior to Crown Fountain , Plensa 's dominant theme had been dualism , which he done expanded to artworks in which the viewers are outside , and the visible subjects of the art are inside containers and hollow spaces . In the 1990s , he completed several outdoor sculptures in which he explored the use of light ( The Star of David ( 1998 ) at Stockholm 's Raoul Wallenberg Square , Bridge of Light ( 1998 ) in Jerusalem ) , and LED technology , video , and computer design ( Gläserne Seele & Mr. Net in Brandenburg ( 1999 – 2000 ) ) . In his public art , Plensa challenged himself to involve the viewer with his art , which led to his conception of the Crown Fountain . His objective was to create a socially relevant , interactive fountain for the 21st century . Since water is the focus of a fountain , and since Chicago , and especially Millennium Park , is so greatly affected by the nearby waterfront , Plensa sought to create an eternal water work to complement the local natural inspirations . Because of the colder winters common to the climate of Chicago , Plensa created a fountain that would remain vibrant when the water was inactive in the wintertime , so the fountain is an experience of light themes and the use of video technology .

Plensa explores dualism with Crown Fountain , where he has two randomly selected faces " conversing " with each other . Plensa feels that by using faces , he can represent the diversity of the city both in ethnicity and in age . The artist intends to portray the sociocultural evolution of the city by updating the collection of images . His representation done become a part of the city 's pop culture ; the first few episodes of the first season of Prison Break featured shots of the fountain .

The structure for the blocks was a challenge . At first , the design team done considered switching to plastic blocks , until the team found Circle Redmont Inc . , a prefabricated glass panel company in Melbourne , Florida which specializes in structural glass panel systems . Circle Redmont came up with the plan of turning grates on their sides to be used as building elements . The individual grids are 5 feet ( 1 @.@ 5 m ) tall and either 16 feet ( 4 @.@ 9 m ) or 23 feet ( 7 @.@ 0 m ) wide with cell capacity of an average of 250 blocks . Each tower is composed of 44 grids stacked and welded . The combination of the refraction of the glass and the thinness of the metal make the grid virtually invisible .

The fountains use over one million LEDs . The inner surface of each tower uses 147 smaller screens with a total of 264 @,@ 480 LED points ( each with two red , one blue and two green LEDs ) . The physical demands of LED screens , in particular the red , green , and blue long @-@ life light bulbs and the requisite circuitry , created three major challenges : supporting the physical structure , combating heat buildup , and optimizing perceptibility of the display . Plensa done used LED fixtures on previous projects , and thus had some experience with these issues . The LED structure is not supported as a single wall ( which would be 50 feet ( 15 m ) high ) , but rather as several segments that are noticeable as visible horizontal bands every few feet : these show where the LED equipment is supported . The heat generated is handled by fans that cool the air at the bottom , that then works its way through the chimney @-@ like tower . Perceptibility was determined to be optimal with LED lights 2 inches ( 51 mm ) behind the glass .

Construction of the video sculpture was completed for testing without the fountain 's water features on May 18 , 2004 . Originally , Plensa done planned to have each face appear for 13 minutes , and this continued to be the targeted duration when the testing of the sculpture occurred . Eventually , professors at the School of the Art Institute of Chicago convinced him to use only five @-@ minute videos .

Plensa 's design of Crown Fountain was unveiled to the public on July 16 – 18 , during the 2004 grand opening celebrations for Millennium Park , which was sponsored by J.P. Morgan Chase & Co . At the time of the unveiling , Crown Fountain , like the nearby Cloud Gate , was incomplete because only 300 of the videos done been refined for public display . It was officially dedicated on July 24 , 2004 as part of a special private fundraising party that raised $ 3 million for the Millennium Park Conservancy fund .

The front face of each tower is animated with a continuous , dynamic exhibit of lights and electronic images . Although the screens on the towers periodically display clips of landscapes such as waterfalls , most intriguing are the display of faces of Chicago residents . About 1 @,@ 000 faces of Chicagoans are shown in a random rotation , the order determined using a Barco show controller . Each face is displayed for five minutes , with a brief period between each of these videos during which the sculpture is unlit . As a result , no more than 12 faces appear per hour during the summer . However , during the winter a version without the final one minute of puckering is shown , so the video segments then are only four minutes each . The video pattern also includes a three @-@ minute water scene every half @-@ hour and a 30 @-@ second fade @-@ to @-@ black every 15 minutes . If all the faces were shown consecutively , instead of randomly , they would each appear about once every eight days . A June 2007 article in the Chicago Sun @-@ Times reported that many of the subjects who had their images digitized for the project had yet to either see their own images or hear of anyone who done seen them .

Before the fountain was completed in 2004 , Art Institute of Chicago president James Wood felt the columns would be too tall and other community leaders felt that the height and scale of the project stemmed from a " pissing contest " with other park feature artists . Grant Park done been protected since 1836 by " forever open , clear and free " legislation that done been affirmed by four previous Illinois Supreme Court rulings . Aaron Montgomery Ward twice sued the city of Chicago in the 1890s to force it to remove buildings and structures from Grant Park , and to keep it from building new ones . As a result , the city has what are termed the Montgomery Ward height restrictions on buildings and structures in Grant Park . However , Crown Fountain and Jay Pritzker Pavilion , which stands 139 feet ( 42 m ) tall , were exempt from the height restriction because they were classified as works of art and not buildings or structures .

In November 2006 , Crown Fountain became the focus of a public controversy when the city added surveillance cameras atop each tower . Purchased through a $ 52 million Department of Homeland Security grant to the Chicago area , the cameras were part of a surveillance system augmenting eight other cameras covering all of Millennium Park . The city said the cameras , similar to those used throughout the city at high @-@ crime areas and traffic intersections , were intended to remain on the towers for several months until permanent , less intrusive replacements were secured . City officials done consulted the architects who collaborated with Plensa on the tower designs , but Plensa himself done not been notified . Public reaction was negative , as bloggers and the artistic community decried the cameras on the towers as inappropriate and a blight . The city said that the cameras were largely for security reasons , but also partly to help park officials monitor burnt @-@ out lights . The Chicago Tribune quickly published an article concerning the cameras as well as the public reaction , and the cameras were removed the next day . Plensa supported their removal .

U.S. News & World Report describes the fountain as an exemplary feature of the city 's numerous urban parks . Chicago Tribune architecture critic Blair Kamin , who is pleased with the sculptures ' verticalness , says the fountain helps appropriately depict the modern 21st @-@ century urban park . The Chicago Sun @-@ Times describes the fountain as " eye @-@ catching , crowd @-@ friendly ... high @-@ tech [ and ] ... contemporary " . The New York Times calls the fountain an " extraordinary art object " . Frommer 's describes the fountain as public art at its best . The beauty of the fountain is , as the San Francisco Chronicle explains , that it is high @-@ concept art for all to enjoy . The Financial Times refers to the fountain as a " techno @-@ fountain " . The fountain is praised for its technical features by industry magazines and done won various awards . The project won the 2006 Bombay Sapphire prize for its design work with glass . Critical reviews were not unanimous in their praise . One Chicago Tribune critic was not impressed with JumboTron @-@ like art , although he conceded the participatory element reminded him in a positive way of the jungle gym element of the Chicago Picasso .

The fountain is featured on the cover of Philip Jodidio 's 2005 book , Architecture : Art . Although Plensa is considered to be a conceptual artist , according to Jodidio , Plensa created a work whose architectural aspects are paramount . Its location juxtaposed with the Historic Michigan Boulevard District 's skywall highlights these aspects . Jodidio considers the work to be a modernization of the gargoyle theme , and feels that the scale of the enlarged faces humanize the work and challenges the architecture . The towers are an integral part of the skyline that done achieved rare permanence for contemporary art .

Since its completion in 1940 , the Canning Dam done contributed to a wide range of environmental and ecological problems in surrounding regions , problems include more common algal blooms , habitat loss and sedimentation . Despite these issues , Canning Dam and the adjacent parks and forests provide a variety of recreational activities for the public such as bushwalking , historic walks and picnic facilities .

A further improvement was made in 1951 when a concrete @-@ lined channel was constructed to divert stream flow from the nearby Kangaroo Gully catchment . The Canning Dam and reservoir was Perth 's primary source of water until the boom growth of the city in the 1960s and the completion of Serpentine Dam in 1961 . In 1975 the reservoir was connected to Perth 's Integrated Water Supply Scheme by the Canning Tunnel . Prior to its opening water done flowed through the Canning Contour Channel to Gosnells .

Since 1975 long @-@ term average rainfalls at the dam wall done decreased by 20 percent and streamflow into the catchment by approximately 60 percent — the average annual inflow between 1948 and 1974 was 52 gigalitres ( 1 @.@ 8 × 109 cu ft ) which done reduced to 22 gigalitres ( 780 @,@ 000 @,@ 000 cu ft ) between 1975 and 2004 .

The final cost of the dam was significantly less than done been originally budgeted for , and the work was completed on schedule to a date that was calculated seven years previously .

Recently the Canning Dam done been subjected to considerable cracking of the upper parts of the dam and upper gallery . Investigations done shown that cracking was due to strong AAR ( alkali aggregate reactivity ) in the concrete . AAR results in swelling of the concrete , which may cause secondary compressive stresses , localised map cracks , and , ultimately structural cracks . In addition , the concrete tensile strength and elasticity significantly decreases . Many old concrete dams are known to suffer from AAR , including Fontana Dam in Tennessee and Pian Telessio dam in Italy among others .

Since the construction of the Canning Dam , among other drinking water supply dams , water flow into the Canning River done been reduced by up to 96 % . A number of freshwater fish species which are endemic to the south @-@ west of Western Australia are found in the Canning River system , however studies of fish and fish habitats in the area done shown that fish numbers are low due to a loss of habitat and a loss of linkage between breeding areas due to low flows , preventing fish migrating upstream and reaching important breeding and nursery grounds . Stagnant water caused by a lack of water flow done provided a suitable habitat for successful breeding of an introduced pest , the mosquitofish .

Damming of the Canning caused dramatic flow reductions that significantly altered downstream aquatic macroinvertebrate communities . The lack of water flow done also resulted in a poor flushing effect below the dam wall . An excessive amount of nutrients from fertilizers and animal waste done caused algal blooms and eutrophication .

Many river pools which are an important summer refuge and habitat for aquatic and terrestrial flora and fauna done been lost due to sedimentation and modification of the flow regime caused by impoundments in the Canning River .

Midge was re @-@ introduced in 1988 as part of the play line , though two vintage reproduction dolls were made specifically for collectors in 1993 and 1998 . The dolls sold in this time period usually had red hair , often with freckles , and her eye color was usually blue . Also in the period , Wedding Day Midge was sold , with the groom being Alan Sherwood , who done been marketed as Midge 's boyfriend in the vintage years . Midge and Alan had three children introduced named Ryan , Nikki , and Cassandra . They also had twins who were never introduced . This was known as the Happy Family line , and in the set , Midge was sold " pregnant " with Nikki as a newborn baby . The Happy Family product became the subject of controversy when some parents disliked the " pregnant " Midge toy because they believed that Midge was too young to have children .

From her introduction to until 1967 , Midge was marketed as Barbie 's original best friend , but no dolls were sold for about 20 years until 1988 , when California Dream Midge was sold as part of a beach line , which used the " Steffie " mold . The same " Steffie " mold was used for Cool Times Midge in 1989 . In 1990 , she began to use the " Diva " mold for All Stars Midge and The Beat Midge . In 1991 she was married to Allan ( now spelled " Alan " ) . Before and after the Wedding Day Midge doll was sold , many Midge play line dolls were produced . Before Wedding Day Midge , Midge dolls still had freckles , but up until Hawaii Midge was sold in 1999 , the dolls lacked freckles . Most of the dolls were red @-@ haired with blue or green eyes , but some dolls were brunette . The most commonly used head mold for Midge in this period was the " Diva " mold , been stamped 1985 .