Realms Of Arkania: Star Trail 1.0
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Realms of Arkania: Star Trail is a computer role-playing game by Attic Entertainment Software based on the German RPG system Das Schwarze Auge. The original German version of the game was released in 1994. Due to the success of its predecessor Realms of Arkania: Blade of Destiny, it was translated to English and released by Sir-Tech in the same year; the game was re-released in 2014 for Steam with support for Windows. After the failed orc invasion on Thorwal, the orcs attacked another region; the player is recruited in the city Kvirasim by an elf ambassador to recover an old artifact, the Salamander Stone, that could unite the elves and the dwarfs for battle against the orcs. A mysterious third party which seems to be against the uniting of the dwarves and elves counter offers riches and bribery; the quest leads them first to the depths of a long abandoned dwarven mine in the mountains. There they must walk a fine line between taking out of avarice. If successful they meet a master smith, who forges an asthenil sword for them and lets them swap it for the Salamander Stone.
Leaving the mines with the Salamander Stone, they are instructed to take the stone to an orc besieged city of Lowangen. The party is allowed past the orcish blockade, only after they leave behind most of their heavy weapons and armor. Once inside the city, they are robbed of the Salamander Stone. While attempting to locate it the group runs into cultists serving an unknown god; the cult comprises elves. After a bloody fight, the group finds one fake and one genuine. There is a notice of instruction telling the cult to send the real one off to the north to their leader; the group travels to the northernmost city on the map and finds it deserted. Upon entering one house they find a trap door leading below the house to an underground base of the cult. Within its first floor, they find a warrioress frozen in a solid block of ice, she joins the group after the player character thaws her out but leaves as the party moves to the third and final floor. On the last floor is a temple to the Nameless God. At the back the party finds the dwarven ambassador, petrified in stone and the mysterious third party that first tried to offer them riches for the Salamander Stone.
The Digital Deluxe Edition of Realms of Arkania: Star Trail grants access to the following additional ingame content and digital goods: Additional Ingame Content Dwarven Plate Armor Equip your favorite party member with the exclusive plate armor forged from dark dwarven steel. Full list of gamers that have played Realms of Arkania: Star Trail, including the achievements they've won and when they completed the game. Realms of Arkania: Star Trail 1.0 – A challenging isometric turn-based combat game. Star Trail is a faithful remake of Realms of Arkania’s classic sequel. This hardcore RPG features dozens of talents and spells, distinct races and character classes as. Aug 11, 2017 Star Trail is a faithful remake of Realms of Arkania’s classic sequel. This hardcore RPG features dozens of talents and spells, distinct races and character classes as well as a challenging isometric turn-based combat system.
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He is a powerful sorcerer. After taunting the party, he casts a spell. A huge dragon starts breathing flames at the party. After battling the party for some time, the dragon finds them allows them to live; as he disappears into his cave, the player character uses the salamander stone to flesh spell upon Ingramosch. They find the elven ambassador waiting with a horse-drawn carriage, he takes the party to the harbor. The elf spends days healing the dwarf with magic; when Ingramosch comes to, they give him the Salamander Stone. After arriving at the tree city of the elves, the dwarves and elves hammer out an alliance. In celebration, the group is treated to a feast in the tree city, where the seen elf king shows up and thanks the group for all its success and hails them as friends forever to elves everywhere. Realms of Arkania: Blade of Destiny was the first game in the trilogy, it was followed by Realms of Arkania: Shadows over Riva. Players can save the game after beating it, which allows them to import their characters into the sequel.
According to Die Zeit, all three games in the Realms of Arkania series, including Star Trail, were commercially and critically successful. The paper's Nicole Lange reported in 2011 that the three entries together had surpassed 2.4 million sales worldwide. The game was reviewed in 1995 in Dragon # 219 by Dee in the 'Eye of the Monitor' column. Jay gave the game 2 1/2 out of 5 stars. A reviewer for Next Generation assessed that 'The return of the old-school RPG, Sir Tech's Star Trail is sure to appeal to those gamers who would lose months at a time fighting evil. With its new control system and sound that far outclass those of Wizardry, the game may be too complex for the beginning adventure to tackle.'Barry Brenesal of Electronic Entertainment praised it as 'a first-classfantasy role-playing game that should keep you busy for a long, long time.' PC Zone's Mark Burgess called Star Trail 'a must' for fans of the genre, summarized it as 'slightly old-fashioned looking, but it's got what it takes.'
In Computer Player, Al Giovetti wrote that the game was 'recommended for role-playing enthusiasts', he praised its graphics and journal features, interface and audio. Writing for PC Gamer US, Trent C. Ward called Star Trail 'a must for every diehard RPG enthusiast', 'a great title for those who're tired of adventure games masquerading as RPGs'. Computer Gaming World's Petra Schlunk wrote that Star Trail was 'a deep and rich game, though it can be overly so at times.' She regarded it as 'a game for the hardest of hard-core role players—those who will fight anything a frustrating game system, to finish a quest.'Star Trail received PC Gamer's 1994 'Best Role-playing Game' award, was named the year's top 'Multi-Character Role-Playing Game' by Computer Games Strategy Plus. It was a nominee for Computer Gaming World's 'Role-Playing Game of the Year' prize, which went to The Elder Scrolls: Arena; the editors of Computer Gaming World called it an improvement upon Blade of Destiny, 'well-suited for hard-core role-players', while those of PC Gamer US wrote, 'Never before, nor since, has a RPG contained as much depth or player control as this one'.
In 1997, PC Gamer US named Sta
A role-playing game is a game in which players assume the roles of characters in a fictional setting. Players take responsibility for acting out these roles within a narrative, either through literal acting, or through a process of structured decision-making regarding character development. Actions taken within many games succeed or fail according to a formal system of rules and guidelines. There are several forms of role-playing games; the original form, sometimes called the tabletop role-playing game, is conducted through discussion, whereas in live action role-playing, players physically perform their characters' actions. In both of these forms, an arranger called a game master decides on the rules and setting to be used, while acting as the referee. Several varieties of RPG exist in electronic media, such as multiplayer text-based Multi-User Dungeons and their graphics-based successors, massively multiplayer online role-playing games. Role-playing games include single-player role-playing video games in which players control a character, or team of characters, who undertake quests, may include player capabilities that advance using statistical mechanics.
These electronic games sometimes share settings and rules with tabletop RPGs, but emphasize character advancement more than collaborative storytelling. This type of game is well-established, so some RPG-related game forms, such as trading/collectible card games and wargames, may not be included under the definition; some amount of role-playing activity may be present in such games. The term role-playing game is sometimes used to describe games involving roleplay simulation and exercises used in teaching and academic research. Both authors and major publishers of tabletop role-playing games consider them to be a form of interactive and collaborative storytelling. Events and narrative structure give a sense of a narrative experience, the game need not have a strongly-defined storyline. Interactivity is the crucial difference between traditional fiction. Whereas a viewer of a television show is a passive observer, a player in a role-playing game makes choices that affect the story; such role-playing games extend an older tradition of storytelling games where a small party of friends collaborate to create a story.
While simple forms of role-playing exist in traditional children's games of make believe, role-playing games add a level of sophistication and persistence to this basic idea with additions such as game facilitators and rules of interaction. Participants in a role-playing game will generate an ongoing plot. A consistent system of rules and a more or less realistic campaign setting in games aids suspension of disbelief; the level of realism in games ranges from just enough internal consistency to set up a believable story or credible challenge up to full-blown simulations of real-world processes. Role-playing games are played in a wide variety of formats, ranging from discussing character interaction in tabletop form, physically acting out characters in LARP,3 to playing characters in digital media. There is a great variety of systems of rules and game settings. Games that emphasize plot and character interaction over game mechanics and combat sometimes prefer the name storytelling game; these types of games tend to minimize or altogether eliminate the use of dice or other randomizing elements.
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Some games are played with characters created before the game by the GM, rather than those created by the players. This type of game is played at gaming conventions, or in standalone games that do not form part of a campaign. Tabletop and pen-and-paper RPGs are conducted through discussion in a small social gathering; the GM describes its inhabitants. The other players describe the intended actions of their characters, the GM describes the outcomes; some outcomes are determined by the game system, some are chosen by the GM. This is the format; the first commercially available RPG, Dungeons & Dragons, was inspired by fantasy literature and the wargaming hobby and was published in 1974. The popularity of D&D led to the birth of the tabletop role-playing game industry, which publishes games with many different themes and styles of play; the popularity of tabletop games has decreased since the modern releases of online MMO RPGs. This format is referred to as a role-playing game. To distinguish this form of RPG from other formats, the retronyms tabletop role-playing game or pen and paper role-playing game are sometimes used, though neither a table nor pen and paper are necessary.
A LARP is played more like improvisational theatre. Participants act out their characters' actions instead of describing them, the real environment is used to represent the imaginary setting of the game world. Players are costumed as their characters and use appropriate props, the venue may be decorated to resemble the fictional setting; some live action role-playing games use rock paper scissors or comparison of attributes to resolve conflicts symbolically, while other LARPs use physical combat with simulated arms such as airsoft guns or foam weapons. LARPs vary in size from a handful of players to several thousand, in duration from a couple of hours to several days; because the number of players in a LARP is larger than in a tabletop role-playing game, the players may be interacting in separate physical spaces, there is less of an emphasis on maintaining a narrative or directly entertaini
Video game music is the soundtrack that accompanies video games. Early video game music was once limited to simple melodies of early sound synthesizer technology; these limitations inspired the style of music known as chiptunes, which combines simple melodic styles with more complex patterns or traditional music styles, became the most popular sound of the first video games. With advances in technology, video game music has grown to include the same breadth and complexity associated with television and film scores, allowing for much more creative freedom. While simple synthesizer pieces are still common, game music now includes full orchestral pieces and popular music. Music in video games can be heard over a game's title screen, options menu, bonus content, as well as during the entire gameplay. Modern soundtracks can change depending on a player's actions or situation, such as indicating missed actions in rhythm games. Video game music can be one of two options: original or licensed. In order to create or collect this music, teams of composers, music directors, music supervisors must work with the game developers and game publishers.
With its rich history and legacy of video game music, Japan has been and continues to be home to many prolific and accomplished composers. Some of them include Nobuo Uematsu, Koji Kondo, Yuzo Koshiro, Yoko Shimomura, Junichi Masuda, Akira Yamaoka, Hip Tanaka, Masato Nakamura, Koichi Sugiyama, Yasunori Mitsuda, Shoji Meguro, Michiru Yamane, Yuu Miyake, Takenobu Mitsuyoshi, Manabu Namiki, Shinji Hosoe, Jun Senoue and Hiroshi Kawaguchi. In the West, there are many popular, well known composers. Most notable of these are Jeremy Soule, Martin O'Donnell, Austin Wintory, James Hannigan, Garry Schyman, Peter McConnell, some of whom work in film and television alongside video games. Today, original composition has included the work of film composers Harry Gregson-Williams, Trent Reznor, Hans Zimmer, Mark Rutherford, Josh Mancell, Steve Jablonsky, Michael Giacchino; the popularity of video game music has expanded education and job opportunities, generated awards, allowed video game soundtracks to be commercially sold and performed in concerts.
At the time video games had emerged as a popular form of entertainment in the late 1970s, music was stored on physical medium in analog waveforms such as compact cassettes and phonograph records. Such components were expensive and prone to breakage under heavy use making them less than ideal for use in an arcade cabinet, though in rare cases, they were used. A more affordable method of having music in a video game was to use digital means, where a specific computer chip would change electrical impulses from computer code into analog sound waves on the fly for output on a speaker. Sound effects for the games were generated in this fashion. An early example of such an approach to video game music was the opening chiptune in Tomohiro Nishikado's Gun Fight. While this allowed for inclusion of music in early arcade video games, it was monophonic, looped or used sparingly between stages or at the start of a new game, such as the Namco titles Pac-Man composed by Toshio Kai or Pole Position composed by Nobuyuki Ohnogi.
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The first game to use a continuous background soundtrack was Tomohiro Nishikado's Space Invaders, released by Taito in 1978. It had four descending chromatic bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player; the first video game to feature continuous, melodic background music was Rally-X, released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay. The decision to include any music into a video game meant that at some point it would have to be transcribed into computer code by a programmer, whether or not the programmer had musical experience; some music was original, some was public domain music such as folk songs. Sound capabilities were limited; as advances were made in silicon technology and costs fell, a definitively new generation of arcade machines and home consoles allowed for great changes in accompanying music. In arcades, machines based on the Motorola68000 CPU and accompanying various Yamaha YM programmable sound generator sound chips allowed for several more tones or 'channels' of sound, sometimes eight or more.
The earliest known example of this was Sega's 1980 arcade game Carnival, which used an AY-3-8910 chip to create an electronic rendition of the classical 1889 composition 'Over The Waves' by Juventino Rosas. Konami's 1981 arcade game Frogger introduced a dynamic approach to video game music, using at least eleven different gameplay tracks, in addition to level-starting and game over themes, which change according to the player's actions; this was further improved upon by Namco's 1982 arcade game Dig Dug, where the music stopped when the player stopped moving. Dig Dug was composed by Yuriko Keino, who composed the music for other Namco games such as Xevious and Phozon. Sega's 1982 arcade game Super Locomotive featured a chiptune rendition of Yellow Magic Orchestra's 'Rydeen'. Home console systems had a comparable upgrade in sound ability beginning with the ColecoVision in 1982 capable of four channels. However, more notable was the Japanese release of the Famicom in 1983, released in the US as the Nintendo Entertainment System in 1985.
It was capable of one being capable of simple PCM sampled sound. The home computer Commodore 64 releas
MS-DOS is an operating system for x86-based personal computers developed by Microsoft. Collectively, MS-DOS, its rebranding as IBM PC DOS, some operating systems attempting to be compatible with MS-DOS, are sometimes referred to as 'DOS'. MS-DOS was the main operating system for IBM PC compatible personal computers during the 1980s, from which point it was superseded by operating systems offering a graphical user interface, in various generations of the graphical Microsoft Windows operating system. IBM re-released it in 1981, as PC DOS 1.0 for use in its PCs. Although MS-DOS and PC DOS were developed in parallel by Microsoft and IBM, the two products diverged after twelve years, in 1993, with recognizable differences in compatibility and capabilities. During its lifetime, several competing products were released for the x86 platform, MS-DOS went through eight versions, until development ceased in 2000. MS-DOS was targeted at Intel8086 processors running on computer hardware using floppy disks to store and access not only the operating system, but application software and user data as well.
Progressive version releases delivered support for other mass storage media in greater sizes and formats, along with added feature support for newer processors and evolving computer architectures. It was the key product in Microsoft's development from a programming language company to a diverse software development firm, providing the company with essential revenue and marketing resources, it was the underlying basic operating system on which early versions of Windows ran as a GUI. It is a flexible operating system, consumes negligible installation space. MS-DOS was a renamed form of 86-DOS – owned by Seattle Computer Products, written by Tim Paterson. Development of 86-DOS took only six weeks, as it was a clone of Digital Research's CP/M, ported to run on 8086 processors and with two notable differences compared to CP/M; this first version was shipped in August 1980. Microsoft, which needed an operating system for the IBM Personal Computer, hired Tim Paterson in May 1981 and bought 86-DOS 1.10 for US$75000 in July of the same year.
Microsoft kept the version number, but renamed it MS-DOS. They licensed MS-DOS 1.10/1.14 to IBM, which, in August 1981, offered it as PC DOS 1.0 as one of three operating systems for the IBM 5150, or the IBM PC. Within a year, Microsoft licensed MS-DOS to over 70 other companies, it was designed to be an OS. Each computer would have its own distinct hardware and its own version of MS-DOS, similar to the situation that existed for CP/M, with MS-DOS emulating the same solution as CP/M to adapt for different hardware platforms. To this end, MS-DOS was designed with a modular structure with internal device drivers, minimally for primary disk drives and the console, integrated with the kernel and loaded by the boot loader, installable device drivers for other devices loaded and integrated at boot time; the OEM would use a development kit provided by Microsoft to build a version of MS-DOS with their basic I/O drivers and a standard Microsoft kernel, which they would supply on disk to end users along with the hardware.
Thus, there were many different versions of 'MS-DOS' for different hardware, there is a major distinction between an IBM-compatible machine and an MS-DOS machine. Some machines, like the Tandy 2000, were MS-DOS compatible but not IBM-compatible, so they could run software written for MS-DOS without dependence on the peripheral hardware of the IBM PC architecture; this design would have worked well for compatibility, if application programs had only used MS-DOS services to perform device I/O, indeed the same design philosophy is embodied in Windows NT. However, in MS-DOS's early days, the greater speed attainable by programs through direct control of hardware was of particular importance for games, which pushed the limits of their contemporary hardware. Soon an IBM-compatible architecture became the goal, before long all 8086-family computers emulated IBM's hardware, only a single version of MS-DOS for a fixed hardware platform was needed for the market; this version is the version of MS-DOS, discussed here, as the dozens of other OEM versions of 'MS-DOS' were only relevant to the systems they were designed for, in any case were similar in function and capability to some standard version for the IBM PC—often the same-numbered version, but not always, since some OEMs used their own proprietary version numbering schemes —with a few notable exceptions.
Microsoft omitted multi-user support from MS-DOS because Microsoft's Unix-based operating system, was multi-user. The company planned, over time, to improve MS-DOS so it would be indistinguishable from single-user Xenix, or XEDOS, which would run on the Motorola68000, Zilog Z8000, the LSI-11. Microsoft advertised MS-DOS and Xenix together, listing the shared features of its 'single-user OS' and 'the multi-user, multi-tasking, UNIX-derived operating system', promising easy porting between them. After the breakup of the Bell System, however, AT&T Computer Systems started selling UNIX System V. Believing that it could not compete with AT&T in t
Sir-Tech Software, Inc. was a United States and Canada-based video game developer and publisher. In the fall of 1979, Sirotech Software, was founded by Norman Sirotek and Robert Woodhead. Sirotech Software published Info Tree, a database management program, Galactic Attack and a beta version of Wizardry: Dungeons of Despair, renamed Wizardry: Proving Grounds of the Mad Overlord and formally released in the fall of 1981, it was the first game in the Wizardry series. In the spring of 1981, Sir-Tech Software, Inc. was incorporated as a United States-based video game developer and publisher. In 1998, Sir-Tech USA closed; the Canadian counterpart Sirtech Canada Limited continued to operate until late 2003. Sir-Tech is best known for the role-playing video game series; the Jagged Alliance series first published by Sir-Tech in 1994, became a popular franchise. The third game in the Jagged Alliance series, Jagged Alliance 2, was still available from its current publisher after 15 years since its initial release.
Info Tree Galactic Attack Wizardry: Proving Grounds of the Mad Overlord Wizardry II: The Knight of DiamondsWizardry III: Legacy of LlylgamynCrypt of MedeaRescue Raiders Deep Space: Operation Copernicus Wizardry IV: The Return of Werdna Wizardry V: Heart of the Maelstrom The Usurper: The Mines of Qyntarr Wizardry VI: Bane of the Cosmic Forge Freakin' Funky Fuzzballs Wizardry VII: Crusaders of the Dark SavantJagged Alliance: Deadly GamesNemesis: The Wizardry Adventure Wizardry Gold Wizardry 8 Jagged Alliance 2 Jagged Alliance 2: Unfinished Business Star Maze The Seven Spirits of Ra Realms of Arkania: Blade of DestinyRealms of Arkania: Star TrailDruid: Daemons of the Mind Jagged Alliance Fable Armed & DeliriousExcalibur 2555 AD Virus: The Game Realms of Arkania: Shadows over Riva Stones of Arnhem Sir-Tech at MobyGames A history of Sir-Tech role-playing games at Bitmob via Internet Archive
Jan 24, 2017 Hidden Folks Gameplay and Review! Best IOS iPhone Games March 2017 - Duration: 3:27. Joey Johnson Recommended for you. Hidden Folks is a hand-drawn, interactive, miniature searching game. Unfurl tent flaps, cut through bushes, slam doors, and poke some crocodiles! 
Hedy Epstein was a German-born Jewish-American political activist known for her support of the Palestinian cause through the International Solidarity Movement. Born in Freiburg to a Jewish family, she was rescued from Nazi Germany by the Kindertransport in 1939, she immigrated to the United States in 1948, married Arnold Epstein, lived in St. Louis, for many years. Hedy Wachenheimer was born to a Jewish family in Freiburg, in 1939 fled Nazi persecution via the Kindertransport to England. All but two of her family were killed at Auschwitz concentration camp during the Holocaust. During World War II she worked in munitions factories and joined a group of left-wingGerman Jewish refugees who hoped to re-introduce democracy in their homeland – 'the foundation of my political education which still stands me in good stead today,' she said; some 60 years she was interviewed about this experience for the film Into the Arms of Strangers: Stories of the Kindertransport. After the war, Epstein worked with the Allied occupying forces in Germany, including working on the Doctors' trial at Nuremberg.
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In 1948 she immigrated to New York City moved to Minneapolis, to St. Louis, Missouri. There, she took up activism for affordable housing, the pro-choice movement, the antiwar movement. In 1982, in response to news reports of massacres committed by a Lebanese Phalangistmilitia with the complicity of the IDF during Israel's 1982 invasion of Lebanon, Epstein developed a different perspective on the Arab–Israeli conflict. In 2001, she founded a St. Louis chapter of the Women in Black, an anti-war group that focused on Israel's occupation. In 2003 she traveled to the West Bank to work with the International Solidarity Movement, she returned once a year, saying to CounterPunch that she had been strip searched and cavity searched in 2004 by guards at Ben Gurion International Airport. Epstein spoke about the situation in the occupied territories, about her own life and experiences, for audiences in the United States. Prior to a talk at Stanford University on October 20, 2004, fliers promoting her presentation 'juxtaposed an image of Jews in Nazi Germany with an image of Palestinians at Israeli checkpoints', according to a news article in The Stanford Daily.
After an 'appalled' reaction from members of Stanford's Jewish community, event organizers stated that no 'direct comparison' was intended by the posters, or would be heard in Epstein's remarks. Epstein echoed these sentiments, avoided comparisons between Nazis and Israelis, spent little time discussing her background in Nazi Germany, wrote The Daily. However, throughout the speech, audience members, many associated with off-campus Jewish organizations, interrupted her talk with shouts of outrage, extra campus security moved in. Reactions to the talk were divided. Adina Danzig, president of Stanford's Hillel organization called the lecture 'an abuse of history' and hoped that 'this event and the isolated interruptions by a few individuals were an aberration'. While acknowledging Epstein's general statement about avoiding comparison, Danzig stated that the 'disclaimer did not undo the damage' and that ' made several remarks drawing the parallel'. Nathan Mintz, vice-president of the Stanford Israel Alliance, condemned 'Epstein's rhetoric of drawing comparisons of the initial stages of the Holocaust to the current situation in Gaza and the West Bank' as 'outright demonization of Jews' representing 'only one piece of what is a much larger trend of anti-Semitism on college campuses today.'
He added that Epstein's ISM colleagues have 'direct ties to terrorist organizations' and that the 'atmosphere on campuses is not one in which a constructive dialogue about the conflict can legitimately take place.'In contrast, a supporter of Epstein condemned these as 'misrepresentations and false charges', citing off-campus activists who, 'with the intention of disrupting the event', handed out fliers 'demonizing' Epstein and 'frequently yelled at and interrupted' her. 'At one point, he wrote a man jumped up while Epstein was talking and recited what appeared to be a prepared statement informing her of pending legal actions against her.' He asked why Mintz 'failed to mention any of the egregious events' of this sort and 'submitted his op-ed before seeing the event.'In response to controversy over the paper's initial coverage of the story, reader editor Jennifer Graham of the Stanford Daily acknowledged that 'plenty – if not unfairly too much' coverage was given to the claims of Epstein's critics.
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She apologized for the 'wrong' and 'misleading' decision to run Mintz's op-ed criticizing Epstein's speech before it had happened. 'There are claims, that I can neither confirm nor deny, that Mintz's column factually misrepresents the substance of Epstein's speech', she wrote. As a 'constructive response' to Epstein's presentation, members of several campus Jewish organizations invited Harvard professor Ruth Wisse to speak at Stanford. 'While her audience ate Challah bread and drank champagne for the Kiddush', wrote The Stanford Daily, Wisse placed sole blame for Palestinian suffering on the Arab world and on Palestinian politics, argued that since opposition to the Jews was the only thing that the Arab world had in common, the center of Arab politics became anti-Semitism. Stanford student Ahmed Ashraf responded with an op-ed contrasting the 'pro-Israelis outraged by Epstein's support for the Palestinians' to the 'perfectly respectful' behavior of Arab and Muslim attendees to Wisse's talk, 'even as the acidic torrent of hate rained down on them.'An Anti-Defamation League report from the next year characterized Epstein's talk
Holly Smale is a British writer. Her first published book, Geek Girl, won the 2014 Waterstones Children's Book Prize and was shortlisted for the Roald Dahl Funny Prize 2013. Smale is writing a 6-book teen fiction series called Geek Girl; the final book, Forever Geek, was published by HarperCollins in March 2017. Smale was born on 7 December 1981 in England. From an early age she loved reading and writing, has stated that her childhood experiences of being bullied have influenced the subjects she chooses to write about. At the age of 15, Smale became a fashion model, she has stated in interviews that she didn't enjoy it. Smale studied at University of Bristol, graduating with a Bachelor of Arts in English Literature and a Master of Arts in Shakespeare studies, she has held various jobs, including teaching English in Japan, has travelled extensively. Meant to be a trilogy, the Geek Girl series will be six books upon completion; the humorous fiction follows the life of Harriet Manners, a nerdy 15-year-old girl who tries out modelling to 'reinvent herself'.
The first book in the series, Geek Girl, received favourable reviews and was the Number 1 debut teen fiction book of 2013 in the UK. It won the 2014 Waterstones' Children's Book Prize in the young adult category, it received the 2014 Leeds Book Award in the ages 11–14 category. And was shortlisted for the Roald Dahl Funny Prize 2013, the Queen of Teen award 2014 and the Branford Boase Award 2014. 2013 Geek Girl 2013 Model Misfit 2014 Picture Perfect 2015 All That Glitters 2016 Head Over Heels 2017 Forever GeekFor World Book Day 2015, Smale wrote an extra spin-off book titled Geek Drama set between Model Misfit and Picture Perfect. Not part of the main series a Christmas special named All Wrapped Up was published in 2015, a summer special named Sunny Side Up was published in 2016. In February 2019 Smale published Happy Girl Lucky, the first in a new series called The Valentines, about three sisters. Holly Smale at Library of Congress Authorities, with 1 catalogue records
Henryk Rodakowski was a Polish painter. He came from a well-known family of lawyers. Continuing the family tradition between 1841 and 1845, he studied law in Vienna, he studied painting under Joseph Danhauser and Franz Eybl. In the years 1846 to 1867 he lived in Paris. In 1852 he experienced his first major success by painting a portrait of General Henryk Dembiński, which won the first prize, his studio was visited by the famous painter Eugène Delacroix. In 1861 he married the love of his youth, Kamila Blühdorn, nee von Salzgeber, with whom he had two children, his great-grandson was Jacek Woźniakowski, art historian, writer and co-founder of publishing house 'Znak'. In 1866 he was Literary Society in Paris. A year he left Paris and returned to Poland, he lived in Pałahicze near Stanisławów. At the end of his life he settled in Kraków. In 1893 he became director and president of the Society of Friends of Fine Arts and chairman of the Committee of the National Museum. On December 24, 1894, he was nominated for the director of Kraków Academy of Fine Arts, but died unexpectedly four days later.
He was buried in Rakowice Cemetery in Kraków. He was a recipient of the Legion of Honour, he was befriended by activist Leon Kaplinski. Works Biography Short Biography