For the first time since 1974, nobody climbed to the top of Mount Everest last year.
In spite of being the subject of a major movie, the world's tallest peak remained untouched by human beings, as a series of tragedies and avalanches led to the mountain being effectively shut off.
Commercial organisations were stopped from bringing expeditions to the mountain, in the aftermath of the horrific earthquake that killed thousands in Nepal in April 2015.
At least 24 people were killed on Everest that month in the aftermath of the earthquake, which in turned had caused a major avalanche on the mountain. It's the highest annual death toll amongst those tackling Everest.
As National Geographic reported, 359 people - a record number - gathered at base camp at the start of 2015's climbing season. Yet April's tragedy, a second earthquake that followed in May, and broken ladders, led to each of them abandoning their plans to reach the top.
Everest was reopened for tourists in August 2015, but only one climber was giving a permit to reach for the summit. He was Nobukazu Kuriki, a Japanese mountaineer who ultimately lost his fingers thanks to frostbite, getting within 700 meters of the top in October.
All that notwithstanding, record numbers are again expected to attempt to tackle Everest in 2016.
Alan Arnette has penned an excellent blog, summing up the year for Everest, here. It's entitled 'Summits Don't Matter.'
When Pac-Man emerged in the early 1980s, nothing else looked or sounded quite like it. Whereas most arcade games of the era involved shooting marauding aliens, Pac-Man looked like a miniature, interactive cartoon: a comical tug-of-war between a round, yellow character with an addiction to munching tiny white dots and a quartet of roaming ghosts with big, anxious eyes.
As we now know, Pac-Man was a massive hit, and its grip on pop culture is still strong today. But Pac-Man's success was far from certain; its designer initially had no interest in games, and the public reaction to it was initially mixed. Here's a brief look at some of the fascinating facts behind Pac-Man's making, its impact, and its legacy.
1. PAC-MAN DESIGNER TORU IWATANI HAD NO TRAINING AS A DESIGNER OR PROGRAMMER.
When then 22-year-old Toru Iwatani started work at Namco in 1977, he had no particular interest in designing video games. In fact, Iwatani initially expected that he'd work on pinball machines, but instead ended up designing the Breakout-inspired paddle games Gee Bee (1978), Bomb Bee and Cutie Q (1979). Two years after Pac-Man's release in 1980, he designed Pole Position.
2. PAC-MAN WAS DESIGNED AS A RESPONSE TO SHOOTING GAMES LIKE SPACE INVADERS.
Japanese arcades of the late 1970s and early 1980s were dark, masculine places full of space shooting games inspired by the success of Space Invaders—including Namco's own enormously successful Galaxian. In response, Iwatani began thinking about a concept which ran counter to those games.
"All the computer games available at the time were of the violent type—war games and Space Invader types," Iwatani said in 1986. "There were no games that everyone could enjoy, and especially none for women. I wanted to come up with a 'comical' game women could enjoy."
Iwatani began thinking about ideas based around the word taberu, meaning "to eat." And gradually, the concept of a game called Pakku-Man (derived from paku paku, a Japanese slang word akin to chomp) began to form.
One of the great creation legends of game design is that Iwatani, while eating a pizza, looked down at the pie with a missing slice and used the outline as inspiration for Pac-Man's distinctive shape. The story was furthered by Iwatani himself; when Pac-Man fever was at its height, he even posed with a half-eaten pizza for a publicity photograph. But in a 1986 interview, Iwatani admitted that the legend was only "half true."
"In Japanese, the character for mouth [kuchi] is a square shape," Iwatani explained. "It's not circular like the pizza, but I decided to round it out." And thus, Pac-Man was born.
4. PAC-MAN'S GAMEPLAY AND GHOSTS WERE INSPIRED BY COMIC BOOK CHARACTERS.
As Iwatani continued to develop the idea of a game which involved eating, he added the concept of a maze, and then came the power pellet (or power cookie), a special item that allowed Pac-Man to eat his enemies. Iwatani later revealed that the power-up idea was inspired by Popeye, who often defeated his arch rival Bluto by eating spinach.
Pac-Man's ghosts were also inspired by comic book characters. "Pac-Man is inspired by all the manga and animation that I’d watch as a kid," Iwatani toldWIRED in 2010. "The ghosts were inspired by Casper, or Obake no Q-Taro."
5. IT WAS ONE OF THE FIRST GAMES TO INTRODUCE CUT-SCENES.
Pac-Man's action is occasionally interspersed with simple cartoonlike interludes, where an enormous Pac-Man chases a terrified ghost across the screen. Iwatani dubbed these "coffee breaks" and imagined them as a means of enticing players to chomp their way to the next scene. Iwatani's programmers initially resisted the idea, arguing that the interludes added little to the game, but Iwatani ultimately won the battle.
6. THE GAME WOULD BE NOTHING WITHOUT ITS ENEMY AI.
Although Iwatani was the creative force behind Pac-Man, bringing the game to life fell to a team of four staff, including programmer Shigeo Funaki and sound designer Toshio Kai. Development of the game took around 18 months—an unusually lengthy production for the era—with the ghosts' behavior posing the greatest challenge.
As Iwatani himself admitted, "There's not much entertainment in a game of eating, so we decided to create enemies to inject a little excitement and tension."
One of the most ingenious aspects of Pac-Man is that each ghost behaves differently—one simply chases the player, two try to attack Pac-Man from the front, while the fourth will chase and then abruptly change course.
"It was tricky because the monster movements are quite complex," Iwatani said. "This is the heart of the game ... The AI in this game impresses me to this day!"
7. THE GAME WASN'T EXPECTED TO BE A HIT.
The first ever Pac-Man machine—then called Puck-Man—was installed in a Tokyo movie theater on May 22, 1980. As Iwatani and his team had hoped, the game was popular with women and the very young, but seasoned gamers—who were more used to the intensity of shooting games—were initially nonplussed.
The uncertainty continued when Pac-Man was shown off at a coin-op trade show later that year. Many of the American arcade operators in attendance thought that another Namco game at the show—a driving game called Rally X—would be the more popular of the two due to its faster pace. Ultimately, Pac-Man was picked up for American distribution by Bally/Midway. Its name was changed from Puck-Man to Pac-Man, and the game's journey to global popularity began.
8. IT WAS ONE OF THE MOST SUCCESSFUL ARCADE GAMES OF ALL TIME, YET ITS CREATOR DIDN'T GET RICH FROM IT.
Selling 350,000 arcade machines within 18 months, generating millions in profits and yet more revenue from merchandising, Pac-Man was an international phenomenon. But Iwatani, like many designers and programmers working in Japan at the time—including Space Invaders' creator Tomohiro Nishikado—didn't directly profit from all that success.
"The truth of the matter is, there were no rewards per se for the success of Pac-Man," Nishikado said in 1987. "I was just an employee. There was no change in my salary, no bonus, no official citation of any kind."
9. THE HIGHEST SCORE POSSIBLE IS 3,333,360 POINTS.
Although Pac-Man doesn't have an ending as such, an integer overflow makes the 256th level impossible to clear. This means that if every dot, power pellet, fruit, and enemy is consumed on each of the 255 levels, the maximum possible score is 3,333,360 points. The legendarily dextrous videogame champion Billy Mitchell was the first player to achieve a perfect Pac-Man score.
10. IT'S STILL INSIDIOUSLY ADDICTIVE.
To celebrate Pac-Man's 30th birthday back in 2010, Google placed a playable version of the game on its homepage. According to a report issued by a time management company, the game's brief appearance managed to rob the world of around 4.8 million working hours. Google's first ever playable doodle, the search engine's anniversary version of Pac-Man can still be played today.
When you think of Shakespeare, you probably have a particular image of the Bard in mind: a receding hairline, heavy-lidded eyes, a thin mustache, and long, wavy hair. As historical figures go, you'd probably be able to pick him out of a lineup.
The picture you have in your head is almost certainly based on just one source: the Droeshout portrait, a black and white engraving that was the frontispiece of the First Folio (and can be seen above). Believed to have been produced by Flemish engraver Martin Droeshout in 1623, it was originally published seven years after Shakespeare's death in the first original collection of his plays. It's unlikely that Droeshout produced it from life, and most historians believe it was copied off an authentic portrait made during Shakespeare's lifetime that has not survived.
In fact, no existing portrait shows conclusively what Shakespeare looked like in real life. Since the mid-17th century, scholars have thought that the figure in the below Chandos Portrait, painted in 1610, was Shakespeare. While the painting's provenance and painting style point to its origin in Shakespeare's time, there is no definitive proof of the sitter's identity, according to Tarnya Cooper, author of Searching for Shakespeare and curatorial director of London's National Portrait Gallery.
The Chandos portrait
Then there's the Cobbe portrait (below). Once owned by 18th-century Anglican Archbishop Charles Cobbe, it allegedly came to his family through the great-granddaughter of one of Shakespeare's patrons, the Earl of Southampton. Modern testing of the painting shows that it was made after 1595; the fashions depicted suggest it could have been painted as late as 1610. The unknown artist could have captured Shakespeare in life, between the ages of 31 and 46, although the figure appears somewhat younger than middle-aged.
Cobbe descendants have argued that the work is the only existing life portrait of the Bard, but art historian Sir Roy Strong described that as "codswallop" (translation: nonsense).
The Cobbe portrait
In fact, some historians have suggested that the Cobbe portrait is actually Sir Thomas Overbury, a poet born in 1581. Verified images of Overbury closely resemble the Cobbe figure, and—perhaps most damningly—the painting doesn't match the best existing image of Shakespeare from the same period, which was actually a bust.
The "holy trinity bust" wasn't made during Shakespeare's lifetime—it was commissioned four years after his death so that it could be placed above his grave in Stratford-upon-Avon's Holy Trinity Church. The sculpture depicts a portlier version of Shakespeare than the one we're familiar with, presumably because it shows him in his later life, and it doesn't look much like the Droeshout engraving, the Chandos portrait, or the Cobbe portrait—which are broadly similar. But because it was commissioned while his widow and son-in-law were still alive, scholars believe it's a credible likeness of the playwright.
More than 400 years after his death, Shakespeare's true identity still stirs debate. For the time being, a few secondhand images are the best clues we have to what he looked like. Luckily, his written work survives in far fuller fashion.