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[SOURCE: https://en.wikipedia.org/wiki/Category:Nerd_culture] | [TOKENS: 55] |
Category:Nerd culture Contents Subcategories This category has the following 43 subcategories, out of 43 total. Pages in category "Nerd culture" The following 117 pages are in this category, out of 117 total. This list may not reflect recent changes. |
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[SOURCE: https://en.wikipedia.org/wiki/List_of_production_cars_by_power_output] | [TOKENS: 246] |
Contents List of production cars by power output This list of most powerful production cars in the world is limited to unmodified production cars which meet the eligibility criteria below. All entries must verified from reliable sources. Eligible cars Because of inconsistencies in the definitions of production cars, dubious claims by manufacturers and self-interest groups, and inconsistent or changing application of definitions, this list has a defined set of requirements. For explanation of how these were determined, see the links above. For the purposes of this list, a production car is defined as a vehicle that conforms to at least one of the following two definitions: (A.) (B.) For the purpose of manageability, this list is limited to production cars that have at least 600 kilowatts. Car models with higher-powered variants are listed only in their most powerful incarnation (for example, the Agera RS would be listed in place of the standard Agera, although the Agera makes over 600 kW). For the timeline of most powerful cars, the production car definition is only applied to modern (post-WWII) cars due to the scarcity of reliable info on Veteran and Vintage era automobiles. Most powerful production cars Timeline of most powerful production cars See also References |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_ref-AshcraftPlunkett_14-4] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Oleg_Kononenko] | [TOKENS: 2060] |
Contents Oleg Kononenko Oleg Dmitriyevich Kononenko (Russian: Олег Дмитриевич Кононенко; Turkmen: Oleg Dmitriýewiç Kononenko; born 21 June 1964) is a Russian cosmonaut. He has flown to the International Space Station five times as a flight engineer on Expedition 17 aboard Soyuz TMA-12, as a flight engineer on Expedition 30 and commander of Expedition 31 aboard Soyuz TMA-03M, as a flight engineer on Expedition 44 and Expedition 45 aboard Soyuz TMA-17M, as a flight engineer on Expedition 57 and commander of Expedition 58 and Expedition 59 aboard Soyuz MS-11, and as a flight engineer on Expedition 69 and Expedition 70 and commander of Expedition 71 aboard Soyuz MS-24/Soyuz MS-25. Kononenko has accumulated 1,111 days in space over the course of five long-duration missions on the ISS. On 4 February 2024, at 07:30:08 UTC, he broke the record for the most time spent in space previously held by Gennady Padalka at 878 days. Early life and career Oleg Kononenko was born on 21 June 1964 in Chardzhou, Turkmen SSR (now Türkmenabat, Turkmenistan) to a simple family. His father Dmitry Ivanovich Kononenko worked as a driver in a freight trucking company, and his mother Taisiya Stepanovna Churakova was a communications operator at the Türkmenabat Airport. Kononenko graduated from high school No. 15 of Turkmenabat city, where he received excellent marks in the subject of the Turkmen language. After school, Oleg Kononenko was not able to enter the Kharkov Aviation Institute the first time. He returned home, worked for a year in the tool shop of the Türkmenabat Airport aviation technical base. The second attempt was successful. Kononenko graduated from the N. E. Zhukovskiy Kharkiv Aviation Institute in 1988 as a mechanical engineer. Experience After graduation, Kononenko worked at the Russian Space Agency's Central Specialized Design Bureau TsSKB-Progress in Kuybishev, starting as an engineer and working his way up to the leading design engineer. His responsibilities included system design, analysis, and development of spacecraft electrical power systems. Cosmonaut career On 29 March 1996, Oleg was selected as a cosmonaut candidate by the Interagency Committee, and from June 1996 to March 1998, he underwent cosmonaut training at the Gagarin Cosmonaut Training Center, and on 20 March 1998, was awarded the title of test cosmonaut by the Interagency Qualification Committee. In October 1998 he began training as part of the group of cosmonauts selected for the International Space Station (ISS) program. From December 2001 through April 2002, Kononenko trained as a backup flight engineer for the Soyuz TM-34 vehicle for the third ISS visiting crew. From March 2002 through February 2004, he trained as the flight engineer for the Soyuz TMA vehicle and the Expedition 9 and Expedition 11 primary crews. From March 2004 through March 2006, he trained as part of the group of cosmonauts selected for the ISS program. In March 2006, Kononenko began training as a flight engineer for the Soyuz TMA-12 vehicle and the Expedition 17 crew. Kononenko was a flight engineer on both the Expedition 17 mission to the International Space Station and the Soyuz TMA-12 mission that flew him there. The crew launched on 8 April 2008 and landed on 24 October 2008. Kononenko spent 199 days in space. Kononenko conducted his first spacewalk on 10 July 2008 when he ventured into space from the Pirs docking compartment airlock of the ISS. He and cosmonaut Sergey Volkov inspected their Soyuz TMA-12 spacecraft and retrieved a pyro bolt from it. This spacewalk lasted 6 hours and 18 minutes. On 15 July 2008, Kononenko again went outside from Pirs to conduct his second spacewalk. Kononenko and Volkov installed one experiment and retrieved another. They also continued to outfit the station's exterior, including the installation of a docking target on the Zvezda service module. The spacewalk was in Russian Orlan suits and Kononenko wore an Orlan suit with blue stripes. The spacewalk lasted 5 hours and 54 minutes.[citation needed] Kononenko returned to Earth with Expedition 17 commander Sergei Volkov and spaceflight participant Richard Garriott (who launched aboard Soyuz TMA-13 to the ISS on 12 October 2008 with the Expedition 18 crew). They landed at 11:37 p.m EDT 55 miles north of Arkalyk, Kazakhstan. They were flown to the Baikonur Cosmodrome by helicopter, and then went on to Zvezdny Gorodok (Star City), Moscow. On 21 December 2011, Kononenko, along with André Kuipers and Donald Pettit, launched to the International Space Station to join the crew of Expedition 30. He, along with his fellow crewmembers, arrived at the space station on December 23. On 12 February 2012, Kononenko and colleague cosmonaut Anton Shkaplerov were scheduled to conduct a six-hour spacewalk outside the ISS. They installed shields on the Zvezda Service Module to protect it from micrometeoroid orbital debris and moved the Strela 1 crane from the Pirs docking compartment to the Poisk Mini Research Module (MRM-2). The two cosmonauts also installed struts on a ladder used by spacewalkers on the Pirs Docking Compartment. As another get-ahead task, they also installed an experiment called Vynoslivost on the Poisk Mini Research Module. As part of the Vynoslivost or "Endurance" experiment, two trays of metal samples would be left exposed on the surface of the Poisk Module. The crew returned to Earth on 1 July 2012. On 22 July 2015, Kononenko launched to the International Space Station as Soyuz commander, together with NASA astronaut Kjell Lindgren and Kimiya Yui from the Japan Aerospace Exploration Agency (JAXA) on Soyuz-TMA-17M. They spent 5 months on the International Space Station as members of the Expedition 44 and Expedition 45 crews. The trio returned to Earth in rare night landing on 11 December 2015, when their Soyuz TMA-17M landed safely on the steppe of Kazakhstan. Kononenko spent 142 days in space on his third mission. Kononenko launched towards the ISS for the fourth time as Soyuz commander of Soyuz MS-11 on 3 December 2018 as a flight engineer on Expedition 57. He was originally scheduled to be serving as a flight engineer on Expedition 58 and commander on Expedition 59, although due to the launch failure of Soyuz MS-10 on 11 October 2018, the original Expedition 58 commander, Aleksey Ovchinin was no longer aboard the station for Expedition 58, therefore Kononenko commanded both Expedition 58 and Expedition 59. Expedition 58 started on 20 December 2018 with the departure of Soyuz MS-09. Kononenko and fellow crew members Anne McClain and David Saint-Jacques returned to Earth on 24 June 2019, after 203 days 15 hours and 16 minutes in space. Kononenko always warmly recalls his stay in his motherland - Turkmenistan. On 31 December 2018 Kononenko showed the flag of Turkmenistan and the book "Turkmenistan is the heart of the Great Silk Road" of Gurbanguly Berdymukhamedov from the ISS and wishes Happy New Year from the orbit of all Turkmenistan citizens. The astronaut also noted that he has special feelings for the country where he was born and grew up, proud and rejoiced at her achievements. In June 2020, Kononenko announced that he was planned to return to the ISS. In September 2023, he launched aboard Soyuz MS-24. He was assigned for a year mission with his Russian crew member Nikolai Chub that started on September 15, 2023. As the mission lasted 374 days, Kononenko spent a total of 1,111 days in space by the time he returned to Earth on Soyuz MS-25. He broke the world record of 878 days in space held by Gennady Padalka on February 4, 2024 at 07:30:08 UTC. He later became the first person to stay 900, 1,000, and 1,100 days in space on 25 February 2024, 4 June 2024, and 12 September 2024 respectively. Personal life Kononenko studied at a specialized school of volleyball and was a member of the youth team of Turkmenistan. He is married to Tatyana Mikhailovna Kononenko (née Yurieva). They have a son, Andrey Olegovich Kononenko, and a daughter, Alisa Olegovna Kononenko. Oleg enjoys reading and team sports. In 2015, he was elected to public office in Korolyov. Honors and awards References This article incorporates public domain material from websites or documents of the National Aeronautics and Space Administration. External links |
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[SOURCE: https://en.wikipedia.org/wiki/Category:Use_American_English_from_February_2021] | [TOKENS: 89] |
Category:Use American English from February 2021 This category combines all use American English from February 2021 (2021-02) to enable us to work through the backlog more systematically. It is a member of Category:Use American English. Contents Pages in category "Use American English from February 2021" The following 200 pages are in this category, out of approximately 513 total. This list may not reflect recent changes. |
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[SOURCE: https://en.wikipedia.org/wiki/Parker_Solar_Probe] | [TOKENS: 3788] |
Contents Parker Solar Probe The Parker Solar Probe (PSP; previously Solar Probe, Solar Probe Plus or Solar Probe+) is a NASA space probe launched in 2018 to make observations of the Sun's outer corona. It used repeated gravity assists from Venus to develop an eccentric orbit, approaching within 9.86 solar radii (6.9 million km or 4.3 million miles) from the center of the Sun. At its closest approach in 2024, its speed relative to the Sun was 690,000 km/h (430,000 mph) or 191 km/s (118.7 mi/s), which is 0.064% the speed of light. It is the fastest object ever built on Earth. The project was announced in the fiscal 2009 budget year. Johns Hopkins University Applied Physics Laboratory designed and built the spacecraft, which was launched on 12 August 2018. It became the first NASA spacecraft named after a living person, honoring physicist Eugene Newman Parker, professor emeritus at the University of Chicago. On 29 October 2018, at about 18:04 UTC, the spacecraft became the closest ever artificial object to the Sun. The previous record, 42.73 million kilometers (26.55 million miles) from the Sun's surface, was set by the Helios 2 spacecraft in April 1976. At its perihelion on 27 September 2023, the PSP's closest approach was 7.26 million kilometers (4.51 million miles), reaching this distance again on 29 March 2024. On 24 December 2024 at 11:53 UTC, PSP made its closest approach to the Sun, coming to a distance of 6.1 million km (3.8 million miles) from the surface. Its beacon signal was received on 26 December, showing that it had survived the passage through the corona. Detailed telemetry was received 1 January 2025. In 2025, the teams from NASA, Johns Hopkins, and partners were awarded the 2024 Collier Trophy for their achievements. History The Parker Solar Probe concept originates in the 1958 report by the Fields and Particles Group, Committee 8 of the National Academy of Sciences' Space Science Board, which proposed several space missions including "a solar probe to pass inside the orbit of Mercury to study the particles and fields in the vicinity of the Sun". Studies in the 1970s and 1980s reaffirmed its importance, but it was always postponed due to cost. A cost-reduced Solar Orbiter mission was studied in the 1990s, and a more capable Solar Probe mission served as one of the centerpieces of the Outer Planet/Solar Probe (OPSP) program formulated by NASA in the late 1990s. The first three missions of the program were planned to be: the Solar Orbiter, the Pluto and Kuiper belt reconnaissance Pluto Kuiper Express mission, and the Europa Orbiter astrobiology mission focused on Europa. The original Solar Probe design used a gravity assist from Jupiter to enter a polar orbit which dropped almost directly toward the Sun. While this explored the important solar poles and came even closer to the surface (3 R☉, a perihelion of 4 R☉), the extreme variation in solar irradiance made for an expensive mission and required a radioisotope thermal generator for power. The trip to Jupiter also made for a long mission, 3+1⁄2 years to first solar perihelion, 8 years to second. Following the appointment of Sean O'Keefe as Administrator of NASA, the entirety of the OPSP program was canceled as part of President George W. Bush's request for the 2003 United States federal budget. Administrator O'Keefe cited a need for a restructuring of NASA and its projects, falling in line with the Bush Administration's wish for NASA to refocus on "research and development, and addressing management shortcomings". In the early 2010s, plans for the Solar Probe mission were incorporated into a lower-cost Solar Probe Plus. The redesigned mission uses multiple Venus gravity assists for a more direct flight path, which can be powered by solar panels. It has a higher perihelion, reducing the demands on the thermal protection system. In May 2017, the spacecraft was renamed the Parker Solar Probe in honor of astrophysicist Eugene Newman Parker, who had proposed the existence of nanoflares as an explanation of coronal heating as well as having developed a mathematical theory that predicted the existence of solar wind. The solar probe cost NASA US$1.5 billion. The launch rocket bore a dedication in memory of APL engineer Andrew A. Dantzler who had worked on the project. A memory card containing names submitted by over 1.1 million people was mounted on a plaque and installed below the spacecraft's high-gain antenna. The card also contains photos of Parker and a copy of his 1958 scientific paper predicting important aspects of solar physics. Spacecraft The Parker Solar Probe is the first spacecraft to fly into the low solar corona. It will assess the structure and dynamics of the Sun's coronal plasma and magnetic field, the energy flow that heats the solar corona and impels the solar wind, and the mechanisms that accelerate energetic particles. The spacecraft's systems are protected from the extreme heat and radiation near the Sun by a solar shield. Incident solar radiation at perihelion is approximately 650 kW/m2, or 475 times the intensity at Earth orbit.: 31 The solar shield is hexagonal, mounted on the Sun-facing side of the spacecraft, 2.3 m (7 ft 7 in) in diameter, 11.4 cm (4.5 in) thick, and is made of two panels of reinforced carbon–carbon composite with a lightweight 11-centimeter-thick (4.5 in) carbon foam core, which is designed to withstand temperatures outside the spacecraft of about 1,370 °C (2,500 °F). The shield weighs only 73 kilograms (160 lb) and keeps the spacecraft's instruments at 29 °C (85 °F). A white reflective alumina surface layer minimizes absorption. The spacecraft systems and scientific instruments are located in the central portion of the shield's shadow, where direct radiation from the Sun is fully blocked. If the shield was not between the spacecraft and the Sun, the probe would be damaged and become inoperative within tens of seconds. As radio communication with Earth takes about eight minutes in each direction, the Parker Solar Probe has to act autonomously and rapidly to protect itself. This is done using four light sensors to detect the first traces of direct sunlight coming from the shield limits and engaging movements from reaction wheels to reposition the spacecraft within the shadow again. According to project scientist Nicky Fox, the team described it as "the most autonomous spacecraft that has ever flown". The primary power for the mission is a dual system of solar panels (photovoltaic arrays). A primary photovoltaic array, used for the portion of the mission outside 0.25 au, is retracted behind the shadow shield during the close approach to the Sun, and a much smaller secondary array powers the spacecraft through closest approach. This secondary array uses pumped-fluid cooling to maintain operating temperature of the solar panels and instrumentation. Trajectory The Parker Solar Probe mission design used repeated gravity assists at Venus to incrementally decrease its orbital perihelion to achieve a final altitude (above the surface) of approximately 8.5 solar radii, or about 6×10^6 km (3.7×10^6 mi; 0.040 au). The spacecraft trajectory included seven Venus flybys over nearly seven years to gradually shrink its elliptical orbit around the Sun, for a total of 24 orbits. The near Sun radiation environment was predicted to cause spacecraft charging effects, radiation damage in materials and electronics, and communication interruptions, so the orbit is highly elliptical with short times spent near the Sun. The trajectory required high launch energy, so the probe was launched on a Delta IV Heavy launch vehicle and an upper stage based on the Star 48BV solid rocket motor. Interplanetary gravity assists provided further deceleration relative to its heliocentric orbit, which resulted in a heliocentric speed record at perihelion. As the probe passed around the Sun in December 2024, it achieved a velocity of 690,000 km/h (430,000 mph) or 191 km/s (118.7 mi/s) in the heliocentric ecliptic reference frame, which temporarily made it the fastest human-made object, almost three times as fast as the previous record holder, Helios-2. Launch injection was very close to predictions, but nevertheless required path correction. Trajectory was re-optimized after the launch to save fuel. The first Venus flyby was only 52 days after the launch; three trajectory correction maneuvers were performed in this window. As described by Kepler's laws of planetary motion, which apply to any object in an orbit, gravity will cause the spacecraft to accelerate as it nears perihelion, then slow down again afterward until it reaches its aphelion. Because of its highly elliptical orbit and the Sun's strong gravity, this effect is particularly pronounced for the Parker Solar Probe. During a perihelion on September 27, 2023, the spacecraft traveled at 394,736 miles per hour (176.5 km/s), fast enough to fly from New York to Tokyo in just over a minute. The PSP performed its final gravity assist on November 6, 2024. It set the spacecraft on a new orbit passing 6.1 million kilometers (3.8 million miles) from the surface of the Sun. A beacon transmission was made and received successfully on December 20 to confirm that the craft was operating normally ahead of the perihelion. The exact time of closest approach was 11:53 UTC on December 24 but the craft was out of contact at this time. A further beacon transmission confirming successful passage was received on December 26. This final orbit is inside the orbit of Venus and so no further encounters with that planet are planned. PSP will continue in this orbit but requiring adjustment to maintain attitude so that its transmitters point at Earth. Eventually its thrusters will run out of fuel and full functioning will not then be possible. The plan is to then rotate the craft so that its instruments will be exposed to the full radiance of the Sun for the first time. This is expected to ablate and destroy them. The heat shield will remain and is expected to continue to orbit the Sun for millions of years. PSP's mission can be extended beyond main mission that will end in 2025. Currently discussed plan is "to complete the solar cycle at the 9.86 Rs perihelion distance". Instruments Parker Solar Probe has four main instruments: An additional theoretical investigation named Heliospheric origins with Solar Probe Plus (HeliOSPP) starting from 2010 and ending in 2024 has the role of providing theoretical input and independent assessment of scientific performance to the Science Working Group (SWG) and the SPP Project to maximize the scientific return from the mission. The Principal Investigator is Marco Velli at the University of California, Los Angeles and the Jet Propulsion Laboratory; he also serves as the Observatory Scientist for the mission. Mission The Parker Solar Probe was launched on 12 August 2018, at 07:31 UTC. The spacecraft operated nominally after launching. During its first week in space it deployed its high-gain antenna, magnetometer boom, and electric field antennas. The spacecraft performed its first scheduled trajectory correction on 20 August 2018, while it was 8.8 million kilometers (5.5 million mi) from Earth, and travelling at 63,569 kilometers per hour (39,500 mph) Instrument activation and testing began in early September 2018. On 9 September 2018, the two WISPR telescopic cameras performed a successful first-light test, transmitting wide-angle images of the background sky towards the Galactic Center. The probe successfully performed the first of the seven planned Venus flybys on 3 October 2018, where it came within about 2,400 kilometers (1,500 mi) of Venus in order to reduce the probe's speed and orbit closer to the Sun. Within each orbit of the Parker Solar Probe around the Sun, the portion within 0.25 AU is the Science Phase, in which the probe is actively and autonomously making observations. Communication with the probe is largely cut off in that phase.: 4 Science phases run for a few days both before and after each perihelion. They lasted 11.6 days for the earliest perihelion, and will drop to 9.6 days for the final, closest perihelion.: 8 Much of the rest of each orbit is devoted to transmitting data from the science phase. But during this part of each orbit, there are still periods when communication is not possible. First, the requirement that the heat shield of the probe be pointed towards the Sun sometimes puts the heat shield between the antenna and Earth. Second, even when the probe is not particularly near the Sun, when the angle between the probe and the Sun, as seen from Earth, is too small, the Sun's radiation can overwhelm the communication link.: 11–14 After the first Venus flyby, the probe was in an elliptical orbit with a period of 150 days (two-thirds the period of Venus), making three orbits while Venus makes two. After the second flyby, the period shortened to 130 days. After less than two orbits, only 198 days later, it encountered Venus a third time at a point earlier in the orbit of Venus. This encounter shortened its period to half of that of Venus, or about 112.5 days. After two orbits it met Venus a fourth time at about the same place, shortening its period to about 102 days. After 237 days, it met Venus for the fifth time and its period was shortened to about 96 days, three-sevenths that of Venus. It then made seven orbits while Venus made three. The sixth encounter, almost two years after the fifth, shortened its period down to 92 days, two-fifths that of Venus. After five more orbits (two orbits of Venus), it met Venus for the seventh and last time, decreasing its period to 88 or 89 days and allowing it to approach closer to the Sun. Timeline Findings On November 6, 2018, Parker Solar Probe observed its first magnetic switchbacks – sudden reversals in the direction of the magnetic field carried by the solar wind. They were first observed by the NASA-ESA mission Ulysses, the first spacecraft to fly over the Sun's poles. The switchbacks generate heat that warms solar corona. On 4 December 2019, the first four research papers were published describing findings during the spacecraft's first two dives near the Sun. They reported the direction and strength of the Sun's magnetic field, and described the unusually frequent and short-lived changes in the direction of the Sun's magnetic field. These measurements confirm the hypothesis that Alfvén waves are the leading candidates for understanding the mechanisms that underlie the coronal heating problem. The probe observed approximately a thousand "rogue" magnetic waves in the solar atmosphere that instantly increase solar wind speeds by as much as 300,000 miles per hour (480,000 km/h) and in some cases completely reverse the local magnetic field. They also reported that, using the "beam of electrons that stream along the magnetic field", they were able to observe that "the reversals in the Sun's magnetic field are often associated with localized enhancements in the radial component of the plasma velocity (the velocity in the direction away from the Sun's center)". The researchers found a "surprisingly large azimuthal component of the plasma velocity (the velocity perpendicular to the radial direction). This component results from the force with which the Sun's rotation slingshots plasma out of the corona when the plasma is released from the coronal magnetic field". PSP discovered evidence of a cosmic dust-free zone of 3.5 million miles (5.6 million kilometers) radius from the Sun, due to vaporisation of cosmic dust particles by the Sun's radiation. On April 28, 2021, during its eighth flyby of the Sun, Parker Solar Probe encountered the specific magnetic and particle conditions at 18.8 solar radii that indicated that it penetrated the Alfvén surface; the probe measured the solar wind plasma environment with its FIELDS and SWEAP instruments. This event was described by NASA as "touching the Sun". On 25 September 2022, the first discovery of a comet was made in images from the Parker Solar Probe. The comet is named PSP-001. It was found by Peter Berrett, who participates in the NASA funded Sungrazer project. PSP-001 was discovered in images from 29 May 2022, part of the spacecraft's 12th approach to the Sun. Since this discovery, a further 19 sungrazing comets have been discovered in the images taken by the Parker Solar Probe, including three non-group comets. In 2024, it was reported that the probe detected a Kelvin-Helmholtz instability (KHI) during an observed coronal mass ejection. It is the first spacecraft that detected this long theorized event. Collaborations The PSP and ESA-NASA Solar Orbiter (SolO) missions cooperated to trace solar wind and transients from their sources on the Sun to the inner interplanetary space. In 2022, PSP and SolO planners collaborated to study why the Sun's atmosphere is "150 times hotter" than its surface. SolO observed the Sun from 140 million kilometers, while PSP simultaneously observed the Sun's corona during flyby at a distance of nearly 9 million kilometers. In March 2024, both space probes were at their closest approaches to the Sun, PSP at 7.3 million km, and SolO at 45 million km. SolO observed the Sun, while PSP sampled the plasma of the solar wind, allowing scientists to compare data from both probes. Coordinated observations were also done with SOHO and STEREO-A spacecraft. Gallery See also Notes References Further reading External links |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_ref-15] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Vox Media Vox Media, Inc. is an American mass media company founded in Washington, D.C. with operational headquarters in Lower Manhattan, New York City. The company was established in November, 2011 by CEO Jim Bankoff and Trei Brundrett to encompass SB Nation (a sports blog network founded in 2003 by Tyler Bleszinski, Markos Moulitsas, and Jerome Armstrong) and The Verge (a technology news website launched alongside Vox Media). Bankoff had been the CEO for SB Nation since 2009. Vox Media owns numerous editorial brands, most prominently New York, The Verge, Vox, SB Nation, and Eater. New York further incorporates the websites Intelligencer, The Cut, Vulture, The Strategist, Curbed, and Grub Street. Recode was integrated into Vox, while Racked was shut down. Vox Media's brands are built on Concert, a marketplace for advertising, and WordPress. The company's lines of business include Concert, Vox Creative, Vox Entertainment, Vox Media Studios, and the Vox Media Podcast Network. As of 2020,[update] the company operated additional offices in San Francisco, Chicago, Los Angeles, Austin, and London. In June 2010, the network featured over 300 sites with over 400 paid writers. As of November 2023,[update] Comscore ranks Vox Media 35th-most popular media company among users from the United States. History Tyler Bleszinski, a freelance writer, established Athletics Nation in 2003 as a sports blog that sought to cover the baseball team Oakland Athletics from a fan's perspective. The blog quickly became popular, becoming the second-most popular site on the Blogads network, after Daily Kos. Bleszinski, together with Daily Kos creator Markos Moulitsas and political strategist Jerome Armstrong, then established the sports blog network SB Nation around Athletics Nation in 2005. The popularity of the site led to other sports blogs being incorporated. SB Nation hired former AOL executive Jim Bankoff as an advisor in 2008 to assist in its growth. He was promoted to chief executive officer (CEO) in January 2009. He showed interest in SB Nation's goal of building a network of niche-oriented sports websites. By February 2009, the SB Nation network contained 185 blogs, and in November 2010, Comscore estimated that the site had attracted 5.8 million unique visitors. The 208% increase in unique visitors over November 2009 made SB Nation the fastest-growing sports website the company tracked at the time. In 2011, Bankoff hired a number of former writers from AOL's technology blog Engadget, including former editor-in-chief Joshua Topolsky, to build a new technology-oriented website in the same network as SB Nation. These writers had originally left AOL following a series of conflicts between Topolsky and Michael Arrington, the author of TechCrunch (which AOL had previously acquired), and the leak of an internal training document that outlined a content strategy for AOL's blogs that prioritized profitability. Bankoff felt that a technology-oriented website would complement SB Nation due to their overlapping demographics. The Verge was launched on November 1, 2011, with Topolsky as editor-in-chief. Alongside this launch, Bankoff and Trei Brundrett created Vox Media as the parent company for both SB Nation and The Verge. The previous parent shell to SB Nation, SportsBlogs, Inc., was converted into Vox Media, Inc. for this purpose. Brundrett, who had been with SB Nation since 2006, became Vox Media's vice president of products and technology, and later chief product officer. In 2012, Vox Media launched a video gaming website, Polygon, led by former Joystiq editor Christopher Grant. In November 2013, Vox Media acquired Curbed Network, which consisted of the real-estate blog network Curbed, the food blog Eater, and the fashion blog Racked. In April 2014, the company launched a news website, Vox. Led by former Washington Post columnist Ezra Klein, Melissa Bell and Matthew Yglesias, Vox was positioned as a general interest news service with a focus on providing additional context to recurring subjects within its articles. In May 2015, Vox Media acquired Recode, a technology industry news website that was founded by Walt Mossberg and Kara Swisher, the former editors of The Wall Street Journal's All Things Digital. In February 2017, Vox Media promoted Brundrett as its chief operating officer. In May 2017, Vox Media announced that it had entered into an agreement to provide technology and advertising sales for Bill Simmons' sports website The Ringer, as part of a revenue sharing agreement. In February 2018, it was reported that Vox Media would be laying off around 50 employees, particularly surrounding video production. CEO Jim Bankoff stated previously that the company planned to exit native video for Facebook due to "unreliable monetization and promotion". The memo announcing the layoffs argued that despite its success, native video "won't be viable audience or revenue growth drivers for us relative to other investments we are making", and that the company wanted to focus more on podcasting and Vox Entertainment. The layoffs represented around 5% of Vox's workforce. In April 2019, Vox Media acquired Epic magazine, which would become part of a new division called Vox Media Studios, which had also absorbed Vox Entertainment and the Vox Media Podcast Network. In September 2019, Vox Media agreed to acquire and merge with New York Media, the parent company of New York magazine. The California Assembly Bill 5 was passed in September 2019, and the bill aimed at improving the working conditions for contract workers. In response to this bill, Vox Media announced in December 2019 that it would terminate more than 200 contracts of California-based freelance writers for SB Nation, and replace these writers with 20 full-time staff writers. On April 17, 2020, Vox Media announced it would furlough 9% of its workforce from May 1 to July 31, 2020 due to the COVID-19 pandemic. In January 2021, Lindsay Peoples Wagner was hired to be the new editor-in-chief of The Cut. At the same time, Vox Media also banned fossil fuel advertising to tackle climate change. In February 2021, Swati Sharma—former managing editor of The Atlantic—was hired to be the new editor-in-chief of Vox. Vox Media purchased Cafe Studios, the publisher of Preet Bharara's podcast Stay Tuned with Preet, in April 2021, making it part of the Vox Media Podcast Network. In August 2021, Vox Media announced its purchase of Punch, a mixology website established by Bertelsmann-owned Random House, to undisclosed terms. Punch is to assist the expansion of Vox Media's Eater website. On December 13, 2021, it was announced that Vox Media would acquire Group Nine Media. The acquisition was completed on February 22, 2022. Investors in Group Nine, including Warner Bros. Discovery, now own 25 percent of Vox. In February 2023, Penske Media Corporation became the largest shareholder in Vox Media, acquiring a 20% stake in the company, and Jay Penske joined Vox's board. In April 2023, it was announced that NowThis would be spun off as a separate company from Vox Media. The deal was backed by Accelerate Change. In May 2025, Vox Media sold Polygon to Valnet, while also laying off most of their staff including Editor-in-Chief Christopher Plante. Aftermath reported they were informed by a "former employee" that "at least 25 people have been let go" and noted many of the laid off staff "were union members". The Vox Media Union was negotiating a new contract with Vox Media at the time, and the Writers Guild of America East (who represents the union) condemned the sale as union busting. Group Publisher for Polygon & The Verge Chris Grant shared his frustrations on Bluesky, stating that Valnet had refused to meet with him or answer questions during the process. Corporate affairs In December 2014, Vox Media raised a US$46.5 million round led by the growth equity firm General Atlantic, estimating the media company's value at around $380 million. Participants in Vox Media's previous rounds include Accel Partners, Comcast Ventures, and Khosla Ventures. Other funders are Allen & Company, Providence Equity Partners, and various angel investors, including Ted Leonsis, Dan Rosensweig, Jeff Weiner, and Brent Jones. According to sources, the Series C in May 2012, valued Vox Media at $140 million. A Series D valued the company north of $200 million, raising an additional $40 million. In August 2015, NBCUniversal made a $200 million investment in Vox Media, valuing the company at more than $1 billion. Comcast, which owns NBCU, additionally already owned 14% of Vox through other subsidiaries. In January 2018, Vox Media agreed to recognize a labor union, the Vox Media Union, which had been formed by its editorial staff with help from the Writers Guild of America, East. On June 6, 2019, more than 300 employees under the Vox Media Union staged a walkout over failed labor agreements between the union and Vox Media, leading to most Vox Media websites temporarily ceasing operation. The Vox Media Union negotiated with management during the widespread furloughs caused by the COVID-19 pandemic in the spring of 2020. The union "won a guarantee of no layoffs, no additional furloughs, and no additional pay cuts through July 31, along with enhanced severance for any layoffs that occur in August–December." Staffers at New York Magazine are represented by a separate union, under Newsguild. In September 2017, Vox Media was sued by Cheryl Bradley, a former manager of the "Mile High Hockey" site for SB Nation, which covered the Colorado Avalanche team. The suit alleged that Vox Media had only paid Bradley a $125 stipend per month, despite her being an employee of the company working 30–40 hours (and sometimes up to 50 hours) a week, and had therefore failed to reach obligatory wage and hour protections. Fellow former site managers John Wakefield and Maija Varda were later added to the suit as plaintiffs, and Vox Media unsuccessfully tried to have the case dismissed. The suit was granted class action status by the United States District Court for the District of Columbia in March 2019. A second labor suit was filed as a class action lawsuit in California in September 2018, citing the Fair Labor Standards Act. Because this lawsuit could have covered 258 plaintiffs and damages of up to $6.3 million, Vox Media had the suit moved to the United States federal court under the Class Action Fairness Act. In several cases, plaintiffs represented by the attorney Richard Liebowitz sued Vox Media over copyright infringement claims. Properties Vox Media is made up of five large media brands: The Verge (technology, culture, and science), Vox (general interest news), SB Nation (sports), Eater (food and nightlife), and Curbed (real estate and home). It also owns the online publications Select All, The Strategist, New York Magazine (and its affiliated websites), Daily Intelligencer (up-to-date news), The Cut (fashion and beauty), Grub Street (food and restaurants), and Vulture (pop culture). Vox Media also previously owned or operated the online publications Racked (retail and shopping), Recode (technology news) and Polygon (gaming). SB Nation (originally known as Sports Blog Nation) is a sports blogging network, founded by Tyler Bleszinski and Markos Moulitsas in 2005. The blog from which the network formed was started by Bleszinski as Athletics Nation in 2003, and focused solely on the Oakland Athletics. It has since expanded to cover sports franchises on a national scale, including all Major League Baseball, National Basketball Association, National Football League, and National Hockey League teams, as well as college and soccer teams, totaling over 300 community sites. In 2011, the network expanded into technology content with The Verge, leading to the parent company Sports Blogs Inc. being rebranded as Vox Media. Vox Media's chief executive, Jim Bankoff, has been SB Nation's CEO since 2009. The network expanded into radio programming in mid-2016 with SB Nation Radio, in partnership with Gow Media. The Verge is a technology news site, which launched on November 1, 2011; it was originally staffed by former employees of Engadget, including former editor Joshua Topolsky and the new site's editor-in-chief Nilay Patel. While Topolsky and his team were developing the new site, a "placeholder" site called This Is My Next was created to allow them to continue writing articles and producing podcasts. Topolsky described the site as being an "evolved version of what we [had] been doing [at AOL]." In February 2014, The Verge had 7.9 million unique visitors according to ComScore. Vox was launched in April 2014; it is a news website that employs explanatory journalism. The site's editor-in-chief is Swati Sharma. Vox Media acquired technology industry news website Recode in May 2015. Recode hosts the annual invite-only Code Conference, at which editors of the site interview prominent figures of the technology industry. Recode was integrated into Vox in May 2019 under the name Recode by Vox. Eater is a food and dining network of sites, offering reviews and news about the restaurant industry. The network was founded by Lockhart Steele and Ben Leventhal in 2005, and originally focused on dining and nightlife in New York City. Eater launched a national site in 2009, and covered nearly 20 cities by 2012. Vox Media acquired Eater, along with two others comprising the Curbed Network, in late 2013. In 2017, Eater had 25 local sites in the United States in Canada, and launched its first international site in London. The site has been recognized four times by the James Beard Foundation Awards. Eater is led by editor-in-chief Amanda Kludt. New York is an American biweekly magazine concerned with life, culture, politics, and style generally, and with a particular emphasis on New York City. On September 24, 2019, it was announced that the magazine's parent company, New York Media, was acquired by Vox Media. The magazine's website, NYMag.com, was a companion to the magazine until it was relaunched as a news site in 2006. It further includes several branded sites: Technology industry news website Recode was acquired by Vox Media in May 2015. The property was then integrated into the company's namesake brand Vox under the name Recode by Vox in May 2019. The video game website Polygon launched in 2012 as Vox Media's third property, and publishes news, culture, reviews, and videos. The site's founding staff included the editors-in-chief of the gaming sites Joystiq, Kotaku (Brian Crecente), and The Escapist. Staff published on The Verge as "Vox Games" beginning in February 2012, and launched as Polygon in October. The network features long-form journalism that focuses on the people making and playing the games rather than the games alone, and uses a "direct content sponsorship" model of online advertising. Chris Grant was the Editor-in-Chief (EIC) from 2012 to 2019; Grant was elevated to the position of Senior Vice President of Polygon and The Verge by Vox Media in July 2019. He was replaced by Christopher Plante who was the EIC from 2019 to 2025. Vox Media sold the website to Valnet in May 2025. Racked was a retail and shopping website which covered style. It was acquired by Vox Media when the company acquired Curbed Network in November 2013. In December 2014, the site had 11.2 million page views and 8 million unique visitors. In addition to the national site, Racked had local sites for Los Angeles, New York City, Miami, and San Francisco. The editor-in-chief was Britt Aboutaleb. Racked was folded into Vox in September 2018. NowThis is a social media-focused media organization founded in 2012. The company specializes in creating short-form videos targeting Gen Z and Millennial audiences. In 2016, NowThis joined with The Dodo, Thrillist, and Seeker to form Group Nine Media. Vox Media acquired Group Nine Media in February 2022. In April 2023, NowThis was spun off as a separate company from Vox Media in a deal backed by Accelerate Change, a nonprofit dedicated to increasing civic engagement among underrepresented groups. During its time as part of Vox Media, NowThis was ranked as the top news publisher in the United States in 2022 by the Reuters Institute, with more than 8.5 million followers for its news and politics accounts. Businesses Conceived in 2008, Chorus was built to be a "next-generation" publishing platform. Developed specifically for SB Nation, it facilitates content creation, and implemented commenting and forums, which allowed for company growth, later evolving to analyze viewership and distribute content via various multimedia platforms. In 2014, Ezra Klein and Melissa Bell left The Washington Post to join Vox Media, in part because of the publishing platform. Additionally, the founders of Curbed, Eater, and The Verge said Chorus was a key reason for partnering with Vox Media. In 2018, Vox Media began to license Chorus as a software as a service (SaaS) business to other publishers, including Funny or Die and The Ringer. The Chicago Sun-Times signed on as the first traditional newspaper to launch on the platform in October 2018. Vox announced it would "wind down" Chorus in December 2022 amid a slump in advertising demand, stating that no new customers would be added and that existing customers had 18 months to depart the platform. Vox moved its own publications off Chorus onto WordPress VIP in 2023. In April 2016, Vox Media and NBCUniversal launched Concert as a "premium, brand-friendly ad network" to reach more than 150 million people across their digital properties. New York Media, PopSugar, Quartz and Rolling Stone joined the marketplace in May 2018. In May 2018, Comscore estimated the network reaches almost 90 percent of all internet users. With the new partners, Concert launched C-Suite to reach executives among brands such as CNBC, Recode, The Verge, and Vox. Vox Creative is Vox Media's branded entertainment business. In October 2017, Vox Creative expanded to launch The Explainer Studio to bring the explainer format to brand partners. In 2016, Vox Creative's ad for "Applebee's Taste Test" won the Digiday Video Award for Best Video Ad. In April 2019, Vox Media opened an operation unit known as Vox Media Studios. It is run by company president Marty Moe and is an umbrella for the Vox Entertainment, Vox Media Podcast, and simultaneously acquired Epic units. Vox Media Studios soon announced a new show, Retro Tech, hosted by Marques Brownlee on YouTube. In March 2015, Vox Media formed a new division known as Vox Entertainment. The division was created to expand the company's presence in developing online video programming. Vox Entertainment announced new shows in 2018, including American Style on CNN, Explained on Netflix, No Passport Required (hosted by chef Marcus Samuelsson) on PBS, and another named "Glad You Asked" series on YouTube. Vox Entertainment is helmed by Vox Media president Marty Moe. In 2016, vice president of Vox Entertainment, Chad Mumm, was named to the Forbes 30 Under 30 and Variety's "30 Execs to Watch" list. The Vox Media Podcast Network is Vox Media's non-fiction audio programming business and has a broad portfolio of audio programming across business, technology, news and policy, sports, and dining. Shows include Stay Tuned with Preet by Preet Bharara, Recode Media with Peter Kafka, Lemonade Stand, and Recode Daily; The Verge's The Vergecast; and Vox's The Weeds, Vox Conversations, Today, Explained, Switched on Pop, Impeachment, Explained, Unexplainable, Pivot by Kara Swisher and Scott Galloway, Celebrity Memoir Book Club, and Vox Quick Hits. Vox Media acquired Criminal Productions in 2021, which includes the podcasts Criminal, This Is Love and Phoebe Reads a Mystery. The network won "Podcast Network of the Year" at the 2020 Adweek Podcast Awards. In December 2019, Vox Media announced a first-party marketing platform named Forte, in order to offer marketers access to Vox Media's direct-to-consumer relationships. Reception In 2016, business magazine Inc. nominated Vox Media for "Company of the Year", citing that the company generated approximately $100 million in revenue in 2015, and was attracting 170 million unique users and 800 million content views monthly by 2016. Vox Media was named one of the world's "most innovative" media companies in 2017 by Fast Company for "doubling down on quality content while expanding". Vox Media was also named one of the "50 Great Places to Work" in Washington, D.C., by magazine Washingtonian. The company gained a rating of 95 out of 100 on the Human Rights Campaign's Corporate Equality Index, which rates businesses on their treatment of LGBT personnel. References External links |
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Category:Articles with unsourced statements from May 2021 This category combines all articles with unsourced statements from May 2021 (2021-05) to enable us to work through the backlog more systematically. It is a member of Category:Articles with unsourced statements. To add an article to this category add {{Citation needed|date=May 2021}} to the article. If you omit the date a bot will add it for you at some point. Pages in category "Articles with unsourced statements from May 2021" The following 200 pages are in this category, out of approximately 4,890 total. This list may not reflect recent changes. |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_ref-Painter_17-1] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Tallest_structures_by_category] | [TOKENS: 163] |
Contents Tallest structures by category Download coordinates as: These are the world's tallest structures by category. This article requires the structure to be "topped out". By design 2°44′26″N 101°40′45″E / 2.740486°N 101.679069°E / 2.740486; 101.679069 (Kuala Lumpur International Airport 2 Control Tower) By use * "Mixed-use" is defined as having three or more real estate uses (such as retail, office, hotel, etc.) that are physically and functionally integrated in a single property and are mutually supporting. By continent Tallest structures supported by land: See also References External links Archived November 9, 2020, at the Wayback Machine |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Manual_of_Style/Dates_and_numbers] | [TOKENS: 2799] |
Contents Wikipedia:Manual of Style/Dates and numbers This page guides the presentation of numbers, dates, times, measurements, currencies, coordinates, and similar items in articles. The aim is to promote clarity, cohesion, and consistency, and to make the encyclopedia easier and more intuitive to use. For numbers, dates, and similar items in Wikipedia article titles, see the Naming conventions (numbers and dates) guideline. Where this manual gives options, maintain consistency within an article unless there is a good reason to do otherwise. The Arbitration Committee has ruled that editors should not change an article from one guideline-defined style to another without a substantial reason unrelated to mere choice of style; edit-warring over optional styles is unacceptable.[a] If discussion fails to resolve the question of which style to use in an article, defer to the style used by the first major contributor. General notes Quotations, titles of books and articles, and similar "imported" text should be faithfully reproduced, even if they use formats or units inconsistent with these guidelines or with other formats in the same article. If necessary, clarify via [bracketed interpolation], article text, or footnotes. Guidance on the use of non-breaking spaces ("hard spaces") is given in some sections below, but not all situations in which hard spaces ({{nbsp}} or ) or {{nowrap}} may be appropriate are described. For further information see Wikipedia:Manual of Style § Non-breaking spaces and Wikipedia:Line-break handling. Chronological items Except on pages that are inherently time-sensitive and updated regularly (e.g. the "Current events" portal), terms such as now, today, currently, present, to date, so far, soon, upcoming, ongoing, and recently should be avoided in favor of phrases such as during the 2010s, since 2010, and in August 2020. Wording in prose can be modified to remove the "now" perspective: not she is the current director but she became director on 1 January 2026; not 2010–present but beginning in 2010 or since 2010. Terms likely to go out of date include best known for, holds the record for, etc.[b] For current and future events, use phrases such as as of February 2026 or since the beginning of 2026 to signal the time-dependence of the information; use the template {{as of}} (or {{updated}}) in conjunction. Terms such as moribund or soon to be defunct to describe a subject's oncoming discontinuation (e.g. a television channel or radio station, a system being phased out, program, or rule/law) are also discouraged, as the subject continues to exist until it ends and moves on into the past tense despite its oncoming ending. Even pages updated regularly that contain several phrases that go out of date throughout the page (e.g. use of has been instead of became) are tedious to update after, for example, an election where many people lose their seats, and even if updated tend to retain some neglected out-of-date language. Relative-time expressions are acceptable for very long periods, such as geological epochs: Humans diverged from other primates long ago, but only recently developed state legislatures. Articles on topics with strong ties to a particular English-speaking country (see Wikipedia:Manual of Style § Strong national ties to a topic) should generally use the date format most commonly used in that country. In articles without strong ties to a particular English-speaking country, the choice of date format ... A date can be given in any appropriate calendar, as long as it is (at the minimum) given in the Julian calendar or the Gregorian calendar or both, as described below. For example, an article on the early history of Islam may give dates in both Islamic and Julian calendars. Where a calendar other than the Julian or Gregorian is used, the article must make this clear. The dating method used should follow that used by reliable secondary sources (or if reliable sources disagree, that used most commonly, with an explanatory footnote). The guidance above is in line with the usage of reliable sources such as American National Biography, Oxford Dictionary of National Biography, and Encyclopædia Britannica.[j] Where it is not obvious that a given date should be given in Julian alone or in Gregorian alone, consider giving both styles, for example by using {{OldStyleDate}}. If a date appears without being specified as Old Style or New Style, tagging that date with {{which calendar?}} will add the page to Category:Articles containing ambiguous dates for further attention. If an article contains Julian calendar dates after 4 October 1582 (as in the October Revolution), or if a start-of-year date other than 1 January was in force in the place being discussed, or both, a footnote should be provided on the first usage, explaining the calendar usage adopted for the article. The calendar usage should be compatible with this guideline. Designate chronological ranges using either an en dash or such forms as from 1822 to 1843 and between May 1 and May 20, but not a combination of a dash and words (from 1881–1886; between June 1 – July 3). Where an en dash is used ... For a person still living: Serena Williams (born September 26, 1981) is a ..., not (September 26, 1981 – ) or (born on September 26, 1981). Do not use * to indicate born; use b. only where space is limited, e.g., in tables and infoboxes; use either born or b. consistently in any given table column. Where birthdate is unknown: John Smith (died May 1, 1622) or John Smith (died 1622) Do not use † to indicate died; use d. only where space is limited, with consistency within any given table column. An overnight period may be expressed using a slash between two contiguous dates: the night raids of 30/31 May 1942 or raids of 31 May / 1 June 1942. Or use an en dash: (unspaced) raids of 30–31 May 1942; (spaced) raids of 31 May – 1 June 1942. Context determines whether the 12- or 24-hour clock is used. In all cases, colons separate hours, minutes, and (where present) seconds, e.g. 1:38:09 pm or 13:38:09. Use figures (11 a.m. or 12:45 p.m.) rather than words (twelve forty-five p.m.). Give dates and times appropriate to the time zone where an event took place. For example, the date of the attack on Pearl Harbor should be December 7, 1941 (Hawaii time/date). Give priority to the place at which the event had its most significant effects; for example, if a hacker in Monaco attacked a Pentagon computer in the US, use the time zone for the Pentagon, where the attack had its effect. In some cases, the best solution may be to add the date and time in Coordinated Universal Time (UTC). For example: 8 p.m. Eastern Standard Time on January 15, 2001 (01:00 UTC, January 16) Alternatively, include just the UTC offset: 21:00 British Summer Time (UTC+1) on 27 July 2012 Rarely, the time zone in which an event took place has since changed; for example, China until 1949 was divided into five time zones, whereas all of modern China is one time zone; UTC+8. Similarly, the term "UTC" is not appropriate for dates before this system was adopted in 1960; Universal Time (UT) is the appropriate term for the mean time at the prime meridian (Greenwich) when it is unnecessary to specify the precise definition of the time scale. Be sure to show the UTC or offset appropriate to the clock time in use at the time of the event, not the modern time zone, if they differ. For spaceflight missions, the consensus[l] is to prioritize UTC over local time, even for events that take place in a specific timezone (such as launches and landings). The sequence of numbered years in dates runs ... 2 BC, 1 BC, 1 AD, 2 AD ...; there is no "year zero". Numbers Generally, in article text: Notes and exceptions: Other numbers Like date ranges, number ranges and page ranges should state the full value of both the beginning and end of the range, separated by an en dash: pp. 1902–1911 or entries 342–349; do not use a dash and words (from 6–16; between 100–200). Except within quotations, avoid abbreviated forms such as 1902–11 or 342–9, which are not understood universally, are sometimes ambiguous, and can cause inconsistent metadata to be created in citations. Sport scores, vote tallies, or other presentations that juxtapose two opposing quantities use an unspaced en dash: To avoid potential line breaks, use {{nowrap}} around the entire score construction, or use {{nbnd}} instead of {{ndash}}. Markup: {{val}} and {{e}} may be used to format scientific notation. There are multiple ways to display mathematical formulae, covered in detail at Wikipedia:Manual of Style/Mathematics § Typesetting of mathematical formulae. One uses special MediaWiki <math>...</math> markup using LaTeX syntax,[r] which is capable of complex formulae; the other relies on conventionalized HTML formatting of simple formulae. The <math> markup is displayed as a PNG image by default. Logged-in users can optionally have it rendered in MathML, or in HTML (via MathJax); detailed instructions are at Help:Displaying a formula. Do not put <math> markup in headings. Units of measurement Quantities are typically expressed using an appropriate "primary unit", displayed first, followed, when appropriate, by a conversion in parentheses e.g. 200 kilometres (120 mi). For details on when and how to provide a conversion, see the section § Unit conversions. The choice of primary units depends on the circumstances, and should respect the principle of strong national ties, where applicable: Special considerations: Where English-speaking countries use different units for the same quantity, provide a conversion in parentheses: the Mississippi River is 2,320 miles (3,734 km) long; the Murray River is 2,508 kilometres (1,558 mi) long. But in science-related articles, supplying such conversion is not required unless there is some special reason to do so. Notes to table: In quantities of bits and bytes, the prefixes kilo- (symbol k or K), mega- (M), giga- (G), tera- (T), etc., are ambiguous in general usage. The meaning may be based on a decimal system (like the standard SI prefixes), meaning 103, 106, 109, 1012, etc., or it may be based on a binary system, meaning 210, 220, 230, 240, etc. The binary meanings are more commonly used in relation to solid-state memory (such as RAM), while the decimal meanings are more common for data transmission rates, disk storage and in theoretical calculations in modern academic textbooks. Follow these recommendations when using these prefixes in Wikipedia articles: Currencies and monetary values Choice of currency Currency names Currency symbols Currency formatting Currency conversions Common mathematical symbols Geographical coordinates Geographical coordinates on Earth should be entered using a template to standardise the format and to provide a link to maps of the coordinates. The {{Coord}} template offers users a choice of display format through user styles, emits a Geo microformat, and is recognised (in the title position) by the "nearby" feature of Wikipedia's mobile apps and by external service providers such as Google Maps and Google Earth, and Yahoo. Avoid excessive precision. Generally, the larger the object being mapped, the less precise the coordinates should be. For example, if just giving the location of a city, precision greater than degrees (°), minutes (′), seconds (″) is not needed, which suffice to locate, for example, the central administrative building. Specific buildings or other objects of similar size would justify precisions down to 10 meters or even one meter in some cases (1″ ~15 m to 30 m, 0.0001° ~5.6 m to 10 m). When adding coordinates, remove the {{coord missing}} tag from the article, if present (often at the top or bottom). For more information, see the geographical coordinates WikiProject. Templates other than {{coord}} should use the following variable names for coordinates: lat_d, lat_m, lat_s, lat_NS, long_d, long_m, long_s, long_EW. See also Notes Some years ago an American student I knew at university went into a panic when she received a note informing her that her exams were scheduled to start on 03-05-1991. She went into a severe weekend of cramming (studying for 18+ hours per day), until she was almost hospitalised from exhaustion. Only then did she realise that her exams didn't start on the 5th of March – two weeks from the date she got the notice – but the 3rd of May. In contrast, there is no common usage in which 1991-05-03 represents anything other than May 3. References |
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[SOURCE: https://en.wikipedia.org/wiki/List_of_Solar_System_extremes] | [TOKENS: 153] |
Contents List of Solar System extremes This article describes extreme locations of the Solar System. Entries listed in bold are Solar System-wide extremes. By feature 25 km (16 mi) Unnamed mountain, Máni By class Sun Sun Sun Neptune Venus Makemake Ceres By object Verona Rupes By distance See also Notes References External links See also Solar System → Local Interstellar Cloud → Local Bubble → Gould Belt → Orion Arm → Milky Way → Milky Way subgroup → Local Group → Local Sheet → Local Volume → Virgo Supercluster → Laniakea Supercluster → Pisces–Cetus Supercluster Complex → Local Hole → Observable universe → UniverseEach arrow (→) may be read as "within" or "part of". |
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[SOURCE: https://en.wikipedia.org/w/index.php?title=IGN&mobileaction=toggle_view_mobile] | [TOKENS: 3612] |
IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. Contents History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Manual_of_Style/Lists] | [TOKENS: 5866] |
Contents Wikipedia:Manual of Style/Lists Lists are commonly used in Wikipedia to organize information. Lists may be found within the body of a prose article, in appendices such as a "Publications" or "Works" section, or as a stand-alone article. This guideline explains when and how to use lists appropriately. Types of lists Wikipedia differentiates between articles that consist primarily of lists (generally called "lists" or "stand-alone lists") and articles that consist primarily of prose (called "articles"). Articles are intended to consist primarily of prose, though they may contain some lists. List articles are encyclopedia pages consisting of introductory material in the lead section followed by a list, possibly arranged in sub-sections. The items on these lists might include links to specific articles or other information, and must be supported with references like any article. The titles of stand-alone lists typically begin with the type of list (List of, Index of, etc.), followed by the article's subject, e.g., List of vegetable oils. They can be organised alphabetically, by subject classification or by topics in a flat or hierarchical structure. The title and bullet style, or vertical style, is common for stand-alone lists. These Wikipedia articles follow the Wikipedia:Stand-alone lists style guideline. Embedded lists are lists used within articles that supplement the article's prose content. They are included in the text itself or appended, and may be in table format. Wikipedia uses several standard appendices, usually in list format, as well as navigational templates. Embedded lists should be used only when appropriate; sometimes the information in a list is better presented as prose. Presenting too much statistical data in list format may contravene policy. It can be appropriate to use a list style when the items in a list are "children" of the paragraphs that precede them. Such "children" logically qualify for indentation beneath their parent description. In this case, indenting the paragraphs in list form may make them easier to read, especially if the paragraphs are very short. The following example works both with and without the bullets: The city's skyline has been composed of numerous and varied skyscrapers, many of which are icons of 20th-century architecture. The Flatiron Building, standing 285 ft (87 meters) high, was one of the tallest buildings in the city upon its completion in 1902, made possible by its steel skeleton. It was one of the first buildings designed with a steel framework, and to achieve this height with other construction methods of that time would have been very difficult. The Woolworth Building, a neo-Gothic "Cathedral of Commerce" overlooking City Hall, was designed by Cass Gilbert. At 792 feet (241 meters), it became the world's tallest building upon its completion in 1913, an honor it retained until 1930, when it was overtaken by 40 Wall Street. That same year, the Chrysler Building took the lead as the tallest building in the world, scraping the sky at 1,046 feet (319 m). More impressive than its height is the building's design, by William Van Alen. An art deco masterpiece with an exterior crafted of brick, the Chrysler Building continues to be a favorite of New Yorkers to this day. Lists of works of individuals or groups, such as bibliographies, discographies, filmographies, album personnel and track listings are typically presented in simple list format, though it is expected that the information will be supported elsewhere in the article by prose analysis of the main points, and that if the lists become unwieldy, they are split off into stand-alone lists per WP:Summary style. Timelines and chronologies can be useful supplements to prose descriptions of real-world histories. The content of a list is governed by the same content policies as prose, including principles of due weight and avoiding original research. Ensure that list items have the same importance to the subject as would be required for the item to be included in the text of the article, according to Wikipedia policies and guidelines (including WP:Trivia sections). Consider whether prose is more appropriate. Specific advice regarding timelines is given in Wikipedia:Timeline standards. "See also" lists and "Related topics" lists are valuable navigational tools that assist users in finding related Wikipedia articles. When deciding what articles and lists of articles to append to any given entry, it is useful to try to put yourself inside the mind of readers: Ask yourself where would a reader likely want to go after reading the article. Typically this will include three types of links: There is some controversy over how many links to articles and links to lists that should be put in any article. Some people separate the "links to articles" (put in the "See also" section) from the "links to lists" (put in the "Related topics" section), but this is not necessary unless there are too many links for one section alone. Some feel the optimum number of links to lists that should be included at the end of any given article is zero, one, or two. Others feel that a more comprehensive set of lists would be useful. In general, when deciding what list to include, the same criteria used to decide what articles to include in the "See also" section should be used. Editors should try to put themselves in the readers' frame of mind and ask "Where will I likely want to go after reading this article?". As a general rule, the "See also" section should not repeat links that appear in the article's body. Reference lists show information sources outside of Wikipedia. The two most common types are: Wikipedia is not a link collection and articles with only external links are actively discouraged, but it is appropriate to reference more detailed material from the Internet. This is particularly the case when you have used a web site as an important source of information. Most lists on Wikipedia are item lists, but not all. Specialized types of lists include: Purposes of lists Lists have three main purposes: The list may be a valuable information source. This is particularly the case for a structured list. Examples would include lists organized chronologically, grouped by theme, or annotated lists. Lists which contain internally linked terms (i.e., wikilinks) serve, in aggregate, as natural tables of contents and indexes of Wikipedia. If users have some general idea of what they are looking for but do not know the specific terminology, they could browse the lists of basic topics and more comprehensive lists of topics, which in turn lead to most if not all of Wikipedia's lists, which in turn lead to related articles. Lists are also provided in portals to assist in navigating their subjects, and lists are often placed in articles via the use of series boxes and other navigation templates. Some lists are useful for Wikipedia development purposes. The lists of related topics give an indication of the state of Wikipedia, the articles that have been written, and the articles that have yet to be written. However, as Wikipedia is optimized for readers over editors, any lists which exist primarily for development or maintenance purposes (such as a list that consists entirely of red links and does not serve an informational purpose; especially a list of missing topics) should be in either the project or user space, not the main space. Redundancy of lists and categories is beneficial because the two formats work together; the principle is covered in the guideline Wikipedia:Categories, lists, and navigation templates. Like categories, lists can be used for keeping track of changes in the listed pages, using the Related Changes feature. Unlike a category, a list also allows keeping a history of its contents; lists also permit a large number of entries to appear on a single page. List naming For a stand-alone list, the list's title is the page name. For an embedded list, the list's title is usually a section title (for instance, Latin Emperor § Latin emperors of Constantinople, 1204–1261), but it can be shorter. The list title should not be misleading and should normally not include abbreviations. Additionally, an overly precise list title can be less useful and can make the list difficult to find; the precise inclusion criteria for the list should be spelled out in the lead section (see below), not the title. For instance, words like complete and notable are normally excluded from list titles. Instead, the lead makes clear whether the list is complete or whether it is limited to widely-known or notable members (i.e., those that merit articles). Note that the word "famous" is considered an unnecessary "peacock" embellishment and should not be used. Sorting a list Lists may be sorted alphabetically (e.g. for people: by surname, given name, initials), chronologically (by date, usually oldest first), or occasionally by other criteria. To suggest that a list in an article or section should be sorted, use {{Unsorted list}}. List layout Prefer prose where a passage is understood easily as regular text that appears in its ordinary form, without metrical structure or line breaks. Prose is preferred in articles because it allows the presentation of detail and clarification of context in a way that a simple list may not. It is best suited to articles because their purpose is to explain. {{prose}} can be used to indicate a list which may be better-written as prose. Many stub articles can be improved by converting unnecessary lists into encyclopedic prose. See also: WP:Manual of Style/Trivia sections. Use proper markup: Employ careful wiki markup- or template-based list code (see Help:List for many pointers). Especially do not leave blank lines between items in a list, since this causes the MediaWiki software to misinterpret each item as beginning a new list. (There are HTML techniques to insert linebreaks or additional paragraphs into a list item.) Avoid misuse of list markup in articles for visual styling of non-list material. To float pictures to the right of the list, one should put the image markup before the first item in most cases, see the example "A". Inserting the image markup as a separate line within the list (as in example "B") once again will split it into two half-lists. Should the length of the list items or the topical relevance of said image discourage display at the top corner, consider placing it after the asterisk of the first list-item it illustrates (as in example "C") to avoid breaking continuity of the unordered list (<ul>) element. Note: When floating images to the left of a list, use the {{flowlist}} template to prevent disrupting the indentation of the bullet-points. Use a bulleted (unordered) list by default, especially for long lists. Use a numbered (ordered) list only if there is a need to refer to items by number, the sequence of items is important, or the numbering exists in the real world (e.g., tracks on an album). List items should be formatted consistently in a list. Unless there is a good reason to use different list types in the same page, consistency throughout an article is also desirable. Use sentence case by default for list items, whether they are complete sentences or not. Sentence case is used for around 99% of lists on Wikipedia. Title case (as used for book titles) is not used for list entries. Lowercase is best reserved for: Use the same grammatical form for all items in a list – avoid mixing sentences and sentence fragments as items. A list item should not end with a full stop unless it consists of a complete sentence or is the end of a list that forms one. When elements contain (or are) titles of works or other proper names, these retain their original capitalization, regardless how the rest of the list is formatted. A list title in a section heading provides a direct edit point, if one enables section editing. It also enables the automatic table of contents to detect the list. It is not required, however, and should not be used for a list that is not the focus of a section, or for lists in an article that uses a lot of short lists and which is better arranged by more topical headings that group related lists. Lists should have introductory material; for stand-alone lists, this should be the lead section. This introductory material should make clear the scope of the list. It should also provide explanation for non-obvious characteristics of the list, such as the list's structure. Stand-alone lists may place non-obvious characteristics in a separate introductory section (e.g. List of compositions by Johann Sebastian Bach § Listing Bach's compositions). Lists and their supporting material must comply with standard Wikipedia content policies and guidelines, including Wikipedia:Neutral point of view and should not create content forks. Exercise caution when self-referencing Wikipedia, to ensure any self-reference is acceptable. For example, notability is often a criterion used for stand-alone lists (and sometimes embedded ones), but many other self-references create problems. To include a self-reference, format it with {{Self-reference link}}. Some information, such as "Notable people" or "Alumni", which may be read for context or scanned for content, may be formatted with a section lead and a descriptive, bulleted list, or as prose, depending on size. If the list is long, is unable to be summarised, but is not appropriate for splitting out, then a section lead, with a descriptive, bulleted list may be more appropriate than a long prose section. Although lists may be organized in different ways, they must always be organized. The most basic form of organization is alphabetical or numerical (such as List of Star Wars starfighters), though if items have specific dates a chronological format is sometimes preferable (List of Belarusian Prime Ministers). When using a more complex form of organization, (by origin, by use, by type, etc.), the criteria for categorization must be clear and consistent. Just as a reader or editor could easily assume that the headings A, B, C would be followed by D (rather than 1903), more complex systems should be just as explicit. If a list of Australians in international prisons contains the headings Argentina and Cambodia (organization by country), it would be inappropriate for an editor to add the heading Drug trafficking (organization by offense). If a list entry logically belongs in two or more categories (e.g., an Australian in an Argentine prison for drug trafficking), this suggests that the list categorization might be flawed, and should be re-examined. Lists should never contain "Unsorted" or "Miscellaneous" headings, as all items worthy of inclusion in the list can be sorted by some criteria, although it is entirely possible that the formatting of the list would need to be revamped to include all appropriate items. Not-yet-sorted items may be included on the list's talk page while their categorization is determined. Keep lists and tables as short as feasible for their purpose and scope: material within a list should relate to the article topic without going into unnecessary detail; and statistical data kept to a minimum per policy. Some material may not be appropriate for reducing or summarizing using the summary style method. An embedded list may need to be split off entirely into a list article, leaving a {{See}} template which produces: In some cases, a list style may be preferable to a long sequence within a sentence, compare: Lists, whether they are stand-alone lists (also called list articles) or embedded lists, are encyclopedic content just as paragraph-only articles or sections are. Therefore, all individual items on the list must follow Wikipedia's content policies: the core content policies of Verifiability (through good sources in the item's one or more references), No original research, and Neutral point of view, plus the other content policies as well. Content should be sourced where it appears with inline citations if the content contains any of the four kinds of material absolutely required to have citations. Although the format of a list might require less detail per topic, Wikipedia policies and procedures apply equally to both a list of similar things as well as to any related article to which an individual thing on the list might be linked. It is important to be bold in adding or editing items on a list, but also to balance boldness with being thoughtful, a balance which all content policies are aimed at helping editors achieve. Edits of uncertain quality can be first discussed on the talk page for feedback from other editors. Besides being useful for such feedback, a talk page discussion is also a good review process for reaching consensus before adding an item that is difficult or contentious, especially those items for which the definition of the topic itself is disputed. Note that, as with other policies and processes mentioned in this section, this process can be used for any type of difficult or contentious encyclopedic content on Wikipedia. Reaching consensus on the talk page before editing the list itself not only saves time in the long run, but also helps make sure that each item on the list is well referenced and that the list as a whole represents a neutral point of view. When an item meets the requirements of the Verifiability policy, readers of the list can check an item's reference to see that the information comes from a reliable source. For information to be verifiable, it also means that Wikipedia does not publish original research: its content is determined by information previously published in a good source, rather than the beliefs or experiences of its editors, or even the editor's interpretation beyond what the source actually says. Even if you're sure that an item is relevant to the list's topic, you must find a good source that verifies this knowledge before you add it to the list (although you can suggest it on the talk page), and add that source in a reference next to the item. In lists that involve living persons, the Biographies of living persons policy applies. When reliable sources disagree, the policy of keeping a neutral point of view requires that competing views be described without endorsing any in particular. Editors should simply present what the various sources say, giving each side its due weight through coverage balanced according to the prominence of each viewpoint in the published reliable sources. When adding to a stand-alone list with links to other articles, follow the established format when adding your item, and then see if you can link that item to an article focusing on that item's topic. If so, then consider if the list's format allows room for all the details of competing views in the list item or if those details should only be covered in the linked, main article on the topic. Either way, make sure to add them to the main article if they are not already there. You can add one or more suitable subcategories of Category:Lists at the bottom of the page containing a list that may be of independent encyclopedic interest. If there is a redirect for the list (e.g., from "List of Presidents of Elbonia" to "President of Elbonia#List of Elbonian Presidents") put list categories on the "List"-named redirect instead. Use a sort key to sort alphabetically by topic. List styles There are several ways of presenting lists on Wikipedia. This is the most common list type on Wikipedia. Bullets are used to discern, at a glance, the individual items in a list, usually when each item in the list is a simple word, phrase or single line of text, for which numeric ordering is not appropriate, or lists that are extremely brief, where discerning the items at a glance is not an issue. They are not appropriate for large paragraphs. Simple bulleted lists are created by starting a line with * and adding the text of a list item, one item per * line. List items should be formatted consistently. Summary: Do not insert blank lines between vertical list items. Instead, use the {{pb}} template or <p> HTML markup. Blank lines effectively break the list into several smaller lists for users of screen readers and interfere with machine-parseability of the content for reuse. Moreover, in most browsers, the extra white-space between a list and the next can have a visually jarring effect. HTML formatting can be used to create rich lists, including items with internal paragraph breaks. Using images with lists requires some care. In infoboxes, a bulleted list can be converted to unbulleted or horizontal style with simple templates, to suppress both the large bullets and the indentation. For lists without bullets, use a {{Plainlist}} or {{Unbulleted list}} template. Typical uses are in infobox fields, and to replace pseudo-lists of lines separated with <br />. The templates emit the correct HTML markup, and hide the bullets with CSS (see Template:Plainlist § Technical details). A benefit of {{Plainlist}} is that it can be wrapped around an already-existing bullet list. A feature of {{Unbulleted list}} is that, for a short list, it can be put on a single line: {{Unbulleted list|Example 1|Example 2|Example 3}}. Use a numbered (ordered) list only if any of the following apply: Use a # symbol at the start of a line to generate a numbered list item (excepted as detailed in this section, this works the same as * for bulleted lists, above). List items should be formatted consistently. Summary: HTML formatting can be used to create rich lists, including items with internal paragraph breaks; some basics are illustrated below. Using images with lists also requires some care. Editors can use raw HTML to achieve more complex results, such as ordered lists using indexes other than numbers, and ordered lists not starting from 1. Valid values for the list type are: The start value can be negative, but only if the list uses numbers as indexes. Otherwise, bizarre results are achieved. A description list contains groups of "... terms and definitions, metadata topics and values, questions and answers, or any other groups of name-value data". On Wikipedia, the most common use of a description list is for a glossary, where it is preferable to other styles. Wikipedia has special markup for description lists: The source can also be laid out with the descriptive value on the next line after the term, like so: This still keeps the names and values within a single description list, and the alternation of typically short names and longer values makes the separate components easy to spot while editing. The resulting layout and HTML are identical to that generated by the single-line syntax. Both of these wikitext markup styles are functionality-limited and easily broken. A major weakness of both variants is that they are easily broken by later editors attempting to create multi-line values. These issues are most-prominent in lengthy description lists. As a solution, there are templates for producing description lists such as glossaries, in ways that provide for richer, more complex content, including multiple paragraphs, block quotations, sub-lists, etc. (For full details on the problems with colon-delimited list markup, see WP:Manual of Style/Glossaries/DD bug test cases.) The basic format of a template-structured description list is: {{glossary}} {{term|name 1}} {{defn|value 1}} {{term |name 2}} {{defn |value 2}} {{term |name 3}} {{defn |value 3}} {{glossary end}} Use either wikitext or templates as above for description lists instead of other, made-up formats, as other formats may be unexpected for reader and editor alike, hamper reusability of Wikipedia content, make automated processing more difficult, and introduce usability and accessibility problems. (Other formats may take less vertical space, but will be more difficult for the reader to scan.) That said, a list of items whose descriptions contain more than one paragraph may present better as sections in a stand-alone list article, while tables are better-suited to associating content than description lists, especially when there are multiple values for each item. As with unordered (bulleted) and ordered (numbered) lists, items in description lists should not have blank lines between them, as it causes each entry to be its own bogus "list" in the output, obviating the point of putting the entries in list markup to begin with. When wiki markup colons are used just for visual indentation, they too are rendered in HTML as description lists, but without ;-delimited terms to which the :-indented material applies, nor with the list start and end tags, which produces broken markup (see WP:Manual of Style/Accessibility § Indentation for details). More accessible indentation templates can be used, e.g., {{in5}} or one of its variants for one line, and {{block indent}} for more than one line (even if misuse of description list markup on talk pages is too ingrained to change at this point). Many of the considerations at WP:Manual of Style § Section headings also apply to description list terms; even though description list terms are not headings, they act like headings in some ways. In at least one regard however, they are not: description list term wikitext (;) should not be used to subdivide large sections or otherwise to obtain a boldfacing effect. Use a subheading instead (e.g. === ... === markup) where one is appropriate, or normal boldface ('''...''') otherwise. (For more detail and examples, see WP:Manual of Style/Accessibility § Pseudo-headings.) A disease is any abnormal condition that impairs normal function, especially infectious diseases, which are clinically evident diseases that result from the presence of pathogenic microbial agents. Illness or sickness are usually synonyms for disease, except when used to refer specifically to the patient's personal experience of their disease. Medical condition is a broad term that includes all diseases and disorders, but can also include injuries and normal health situations, such as pregnancy, that might affect a person's health, benefit from medical assistance, or have implications for medical treatments. Tables are a way of presenting links, data, or information in rows and columns. They are a complex form of list and are useful especially when more than 2 pieces of information are of interest to each list item. Tables require a more-complex notation, and should be scrutinized for their accessibility. Consideration may be given to collapsing tables which consolidate information covered in the prose. Tables might be used for presenting mathematical data such as multiplication tables, comparative figures, or sporting results. They might also be used for presenting equivalent words in two or more languages, for awards by type and year, and complex discographies. In situations such as infoboxes, horizontal lists may be useful. Examples: Note the capitalization of only the first word in this list ("Entry 1 ..."), regardless of coding style. Words that are normally capitalized, like proper names, would of course still be capitalized. A benefit of {{Flatlist}} is that it can be wrapped around an already-existing bullet list. A feature of {{Hlist}} is that, for a short list, it can be put on a single line. For lists of dated events, or timelines, use one instance of {{Timeline-event}} per event, thus: to render as: (note optional df=y (date first) parameter – date formatting should be consistent within individual articles). Chronological lists, such as timelines, should be in earliest-to-latest chronological order. See Wikipedia:Stand-alone lists § Chronological ordering. cake cheese chocolate This "pseudo-list" method is deprecated, as it does not meet Web standards and can cause accessibility problems. Instead, use one of more formatted list styles defined above. Boilerplate text Directly before an incomplete list, insert {{incomplete list}}, which will transclude the following onto the page: Several topic-specific variations of this template are also available within Category:Incomplete list maintenance templates. Only one of {{incomplete list}} or its variations should be added, unless the topic is significantly related to more than one of the subcategories. Do not add both {{incomplete list}} AND a variation to any list. Pro and con lists These are lists of arguments for and against a particular contention or position. They include lists of Advantages and disadvantages of a technology or proposal (such as Wi-Fi) and lists of Criticisms and defenses of a political position or other view, such as libertarianism or evolution. Pro and con lists can encapsulate or bracket neutrality problems in an article by creating separate spaces in which different points of view can be expressed. An alternative method is to thread different points of view into running prose. Either method needs careful judgment as to whether and how it should be used. In particular, pro and con lists can fragment the presentation of facts, create a binary structure where a more nuanced treatment of the spectrum of facts is preferable, encourage oversimplification, and require readers to jump back and forth between the two sides of the list. See also Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Categorization] | [TOKENS: 5316] |
Contents Wikipedia:Categorization The primary purpose of the categorization system on Wikipedia is to provide navigational links within a structured, tree-like hierarchy of categories. By grouping pages according to their essential, defining characteristics, the system allows readers to browse and efficiently locate related topics. Proposals to delete, merge, or rename categories should follow the process outlined at Wikipedia:Categories for discussion. Please use that forum before undertaking extensive re-categorization of existing categories or the mass creation of new ones. Categorizing pages Every Wikipedia page should belong to at least one category, except for talk pages, redirects, and user pages, which may optionally be placed in categories where appropriate. Each categorized page should be placed only in the most specific categories to which it logically belongs, and subcategories should be categorized under only the most specific parent categories possible. Important: All categories form part of a tree-like hierarchy. Do not add categories to pages as if they are tags. Creating category pages Sometimes proper categorization requires the creation of a new category. Categories are not the only means of allowing users to browse sets of related pages, and have several disadvantages, including: So, consider whether a list would be more appropriate than a category (or in addition to a category) for a grouping of pages. As examples, a list of Nobel laureates could include dates, and a list formatted as a table can provide options for sorting the entries. Also consider whether the proposed category might be considered "category clutter", as described in Wikipedia:Overcategorization. A good category name is accurate and neutral, and, as much as possible, defines the category's inclusion criteria in the name itself. Important: Moving non-conventionally categorized pages to another category name (see {{Category redirect}}) imposes an additional overhead – an edit for every categorized page and subcategory. So, when choosing a name for the category, please be sure a category with a similar name or similar inclusion criteria does not already exist. (See also: WP:OVERLAPCAT.) One way to determine if suitable categories already exist for a particular page is to check the categories on pages concerning similar or related topics. You can also search existing category names as described here (top of page). Note: Eponymous categories (categories whose name and topic is the same as an article, such as a category named after a person) should only be created if enough directly related articles exist. After you have determined an appropriate category name for the category, next try to find a suitable place for the new category. (For example, categories of people should be in the tree of "people" categories.) Please see § Category tree organization for more information on this. Once you have determined where to categorize this new category, you should be ready to create the new category. To create a category: Important: If something goes wrong, double check to see if you followed the steps properly and check if the wikitext is correct. For example, if the category fails to list in the parent category, the wikitext should be [[Category:Parent category name]], not [[:Category:Parent category name]]. While it should typically be clear from the name of an existing category which pages it should contain, sometimes, a common-sense guess based on the name of the category is not enough to figure out whether a page should be listed in the category. So, rather than leave the text of a category page empty (other than parent categories), adding a hatnote linking to the main article or another page which describes the topic (see § Articles with eponymous categories) can help with that. However, only linking to a Wikipedia article explaining the title is often not sufficient as a description for a category. It can be helpful – to both readers and editors – to include a clear description of the category, indicating what pages it should contain, how they should be subcategorized, and so on, and linking to one or more pages as background information. In such cases, the desired contents of the category should be described on the category page, similar to how the list selection criteria are described in a stand-alone list. The category description should make direct statements about the criteria by which pages should be selected for inclusion in (or exclusion from) the category. This description, not the category's name, defines the proper content of the category. Do not leave future editors to guess about what or who should be included from the title of the category. Even if the selection criteria might seem obvious to you, an explicit standard is helpful to others, especially if they are less familiar with the subject. The description can also contain links to other Wikipedia pages, in particular to other related categories that do not appear directly as subcategories or parent categories, and to relevant categories at sister projects, such as Commons. Like disambiguation pages, category pages should contain neither citations nor external links. Various templates have been developed to make it easier to produce category descriptions; see Category namespace templates and Wikipedia:Category classification templates. There are hatnote templates including {{Category main article}} and {{Category see also}}; others are listed at Wikipedia:Hatnote#Categories. Categories may have hundreds or thousands of members, displayed over many pages, with up to 200 entries on a single page. To make navigating large categories easier, a table of contents can be used on the category page. The following templates are some of the ways of doing this: Likewise, a maximum of 200 subcategories are displayed at a time, so some subcategories may not be immediately visible. To display all subcategories at once, add a category tree to the text of the category page, as described at Help:Category § Displaying category trees and page counts. Category pages can have interlanguage links to corresponding categories in other language Wikipedias. Edit these on Wikidata by following the instructions at Help:Interlanguage links. Categorizing articles In general, categories of articles must be: If there are more than a few lists in a particular subject area, it may be appropriate to create a specific subcategory that contains only the list pages and no other types. When placing list pages in a lists category, use a sort key to adjust the page title to exclude the starting words "List of", otherwise all lists would appear under "L". A category that covers exactly the same topic as an article is known as the eponymous category for that article (e.g. New York City and Category:New York City; Mekong and Category:Mekong River; Abraham Lincoln and Category:Abraham Lincoln). An eponymous category is generally named the same as its main article, but exceptions sometimes apply. See § Naming conventions for more information. Eponymous categories should not be created unless enough directly related articles or subcategories exist. However, this should not be done simply to reduce the number of categories displayed in an article. An eponymous category should have only the categories of its article that are relevant to the category's content. For example: If eponymous categories are categorized separately from their articles, it will be helpful to make links between the category page containing the articles and the category page containing the eponymous categories. The template {{Category see also}} can be used for this. An example of this set-up is the linked categories Category:American politicians and Category:Wikipedia categories named after American politicians. Categorizing draft pages Drafts, no matter whether in the draft namespace or your userspace, are not articles and thus do not belong in content categories such as Category:Living people or Category:Biologists. If you copy an article from mainspace to draftspace or userspace and it already contains categories, disable those categories. This can be done in any of the following four ways (but only the first two ways are recommended, as a disadvantage of the last two ways is that the categories will not be linked on the page): After you move the draft into article space, remove the leading colons, uncomment out the categories or remove the <nowiki>...</nowiki> tags to re-enable the categories. If you use the draft categories template, the categories will automatically work as normal in mainspace, but the template should be removed. The same system may be used in a new draft to list the categories it may have when moved to mainspace. Two scripts are available to help with these tasks: User:DannyS712/Draft no cat and User:DannyS712/Draft re cat. Categorizing project pages A distinction is made between two types of categories: Administrative categories include stub categories (generally produced by stub templates), maintenance categories (often produced by cleanup templates such as {{Cleanup}} and {{Citation needed}}, or those used for maintenance projects), and categories of pages in non-article namespaces, such as WikiProject assessment categories and categories holding Wikipedia policies and guidelines. Article pages should be kept out of administrative categories if possible. For example, the templates that generate WikiProject and assessment categories should be placed on talk pages, not on the articles themselves. If it is unavoidable that an administrative category appears on article pages (usually because it is generated by a maintenance template that is placed on articles), then in most cases the category should be made a hidden category, as described in § Hiding categories below. Maintenance categories should never be added to articles directly. Instead, the categories should be added using templates. There are separate administrative categories for different kinds of non-article pages, such as project page categories, template categories, disambiguation page categories, etc. In some administrative categories, pages may be included regardless of type or namespace. For example, in an error-tracking category, it makes sense to group templates separately, because addressing the errors there may require different skills compared to fixing an ordinary article. For sorting each namespace separately, see § Sort keys below. Category tags should be added to file pages of files that have been uploaded to Wikipedia. When categorized, files are not included in the count of articles in the category, but are displayed in a separate section with a thumbnail and the name for each. A category can mix articles and images, or a separate file/image category can be created. A file category is typically a subcategory of the general category about the same subject, and a subcategory of the wider category for files, Category:Wikipedia files. To categorize a new file when uploading, simply add the category tag to the upload summary. Freely licensed files should be uploaded to, and categorized on, Wikimedia Commons, instead of uploading and categorizing on Wikipedia. Existing freely licensed files should usually be moved from Wikipedia to Commons, with a mirror page automatically remaining on Wikipedia. (For an example of one such mirror page, see here.) Categories should not be added to these Wikipedia mirror pages, because doing so creates a new Wikipedia page that is subject to speedy deletion. Exceptions to this principle are made for mirror pages of images that are nominated as featured pictures and for those that appear on the Wikipedia Main Page in the Did You Know? column. Images that are used in Wikipedia that are non-free or fair use should not appear as thumbnail images in categories. To prevent the thumbnail preview of images from appearing in a category, __NOGALLERY__ should be added to the text of the category. In such cases, the file will still appear in the category, but the image preview will not. Templates are not articles and thus do not belong in content categories. They should, however, be placed in template categories – subcategories of Category:Wikipedia templates – to assist when looking for templates of a certain type. For example, Template:The Beatles albums is categorized under Category:England rock music group navigational boxes, which is ultimately a subcategory of Category:Music navigational boxes (type), but Template:The Beatles albums should not be categorized under Category:The Beatles or Category:Albums (content). Pages using a template should rarely be placed in the same categories as the template itself. To ensure a template's categories are not applied to a page using the template, template categories should be placed on the template's documentation page, normally after the two pipes in a <includeonly>{{Sandbox other||...}}</includeonly> block. Because template documentation is rarely protected, template categorization can be modified by all editors even when the template code itself is protected from editing by most editors. When there is no documentation page, the categories for the template may be placed at the bottom of the template itself, within a <noinclude>...</noinclude> block. There should be no spaces or new lines between the last part of the template proper and the opening <noinclude> tag. User pages are not articles and thus do not belong in content categories such as Category:Living people or Category:Biologists. Similarly, draft versions of articles should be kept out of content categories. Also, do not transclude full articles into your user pages, as this will result in the user page being included in all the article's categories. You also may not leave userspace pages sitting in red-linked categories that do not exist. Although it may seem less serious than mixing userspace content with mainspace content in conventional categories, red-linked categories in userspace get picked up by the category cleanup reports just the same as red-linked categories in mainspace, and thus actively disrupt the process of cleaning up mainspace category errors. The sole exception is that you are allowed to file your user page in Category:Wikipedians with red-linked categories on their user page, a harmless joke category that consensus has deemed a standalone exception to the rule – however, you must use that exact category itself, and are not free to use differently worded or differently spelled variants of it, and your page cannot be left in any other red-linked categories besides that. However, user pages can optionally be placed in user categories – subcategories of Category:Wikipedians, such as Category:Wikipedian biologists – which assist collaboration between users. Also, certain user sub-pages that are non-article drafts are permitted in project categories, such as Category:User essays. Note also that Wikipedia policy around ownership of content means that other editors are allowed to edit pages in your personal userspace. If your page is in categories that it cannot be in under USERNOCAT, other editors are free to remove it from those categories and do not need to ask you for permission to edit "your" content. A list of article-space categories with user pages is maintained at Wikipedia:Database reports/Polluted categories. Categorization using templates Many templates include category declarations in their transcludable text, for the purpose of placing the pages containing those templates into specific categories. This technique is very commonly used for populating certain kinds of administrative categories, including stub categories and maintenance categories. See Template:Infobox roller coaster for an example that only adds a category by manufacturer if it exists, and otherwise uses a hidden category. However, it is recommended that articles not be placed in ordinary content categories using templates in this way. There are many reasons for this: editors cannot see the category in the wikitext; removing or restructuring the category is made more difficult (partly because automated processes will not work); inappropriate articles and non-article pages may get added to the category; sort keys may be unavailable to be customized per category; and ordering of categories on the page is less controllable. When templates are used to populate administrative categories, ensure that the code cannot generate nonsensical or non-existent categories, particularly when the category name depends on a parameter. See Wikipedia:Category suppression for ways of keeping inappropriate pages out of template-generated categories. Category declarations in templates often use {{PAGENAME}} as the sort key, because this overrides any DEFAULTSORT defined on the page. Do not create inter-category redirects by adding #REDIRECT [[Target page]] to a category page. Unlike when renaming articles, categories cannot be redirected using "hard" redirects. Articles added to a redirected category will not show up in the target category. And since redirected categories do not become "red links", editors will not be aware when they add an article to a redirected category. Instead, a form of "soft redirect" may be used in limited circumstances. You can create a category redirect by adding {{Category redirect|target}} to the category page. Bots patrol these categories and move articles to the "target" of the redirect. If you need to add a redirect category to a {{Category redirect}}, use the template's second parameter. For example: {{Category redirect | Years of the 19th century in Ceylon | {{R from category navigation}} {{R from template-generated category}} }} Category redirects are costly. While placing a page in a category redirect is not a big problem, it is a problem. There are plenty of helpful uses of category redirects, but category redirects are not as cheap as regular redirects. Links to article redirects are not broken: i.e. click on the link and you are automatically redirected to its target. However, links to category redirects are broken and need to be fixed, except when resolved by a template (i.e. the template generates categories using a pattern, and some of the resulting category names are intentionally resolved by the use of {{Resolve category redirect}} within the template, as in the Ceylon example above). Placing a page into a category redirect makes it show up in the category redirect – not its target – until a bot comes along and fixes the link. If a category is renamed because it is ambiguous, and categories exist for two or more meanings, then create a category disambiguation page at the old name, using {{Category disambiguation}}. See also Category:Disambiguation categories. In cases where, for technical reasons, administrative categories appear directly on articles rather than talk pages, they should be made into hidden categories, so that they are not displayed to readers. This rule does not apply to stub categories – these are not hidden. To hide a category, add the template {{Maintenance category|hidden=yes}} to the category page (the template uses the magic word __HIDDENCAT__). This also places the page in Category:Hidden categories. A logged-in user may elect to view all hidden categories, by checking "Show hidden categories" in the "Appearance" tab of their Preferences. "Hidden" parent categories are never in fact hidden on category pages (although they are listed separately). Hidden categories are listed at the bottom when previewing. All users of the desktop version can see hidden categories for a page by clicking "Page information" on the right-hand side, or by editing the whole page with the source editor. For more information, see mw:Help:Categories § Hidden categories. Stub templates categorize stub articles for maintenance purposes into administrative categories, not for user browsing, so they do not count as categorization for the purposes of Wikipedia's categorization policies. An article which has a "stubs" category on it must still be filed in the most appropriate content categories, even if one of them is a direct parent of the stubs category in question. Category tree organization Categories are organized as overlapping "trees", formed by creating links between inter-related categories (in mathematics or computer science this structure is called a partially ordered set). There is one top-level category: Category:Contents. All other categories are subcategorized below this category. If logical membership of one category implies logical membership of a second category (an is-a relationship), then the first category should be made a subcategory (directly or indirectly) of the second category (the "parent" category). Any category may potentially contain (or "branch into") subcategories. When making one category a subcategory of another, ensure that the members of the subcategory really can be expected (with possibly a few exceptions) to belong to the parent also. A subcategory may potentially have two or more parent categories. If two categories are closely related but are not in a subset relation, then links between them can be included in the category description of the category pages. Pages (and subcategories) should not usually be placed in both a given category and any of its subcategories or parent categories. For some exceptions to this, see § Eponymous categories and § Non-diffusing subcategories. Category chains formed by parent–child relationships should never form closed loops; that is, no category should be contained as a subcategory of one of its own subcategories. Although there is no limit on the size of categories, a large category will often be broken down ("diffused") into smaller, more specific subcategories. For example, Category:Rivers of Europe contains no articles about specific rivers directly; they are all in subcategories. A category may be diffused using several coexisting schemes; for example, Category:Albums is broken down by artist, by date, by genre, etc. Metacategories may be created as ways of organizing schemes of subcategories. For example, Category:The Beatles albums is not placed directly into Category:Albums but into the metacategory Category:Albums by artist, which itself appears in Category:Albums by person then Category:Albums. (See Category:Categories by parameter.) It is possible for a category to be only partially diffused – some members are placed in subcategories, while others remain in the main category. Information about how a category is diffused may be given on the category page. Categories which are intended to be fully broken down into subcategories can be marked with the {{Category diffuse}} template, which indicates that any pages which editors might add to the main category should be moved to the appropriate subcategories when sufficient information is available. (If the proper subcategory for an article does not exist yet, either create the subcategory or leave the article in the parent category for the time being. However, avoid creating subcategories for just one article.) To suggest that a category is so large that it ought to be diffused, or substantially diffused, into subcategories, you can add the {{Overpopulated category}} template to the category page. Not all subcategories serve the "diffusion" function described above; some are simply subsets which have some special characteristic of interest, such as Best Actor Academy Award winners as a subcategory of Film actors. They provide an exception to the general rule that pages are not placed in both a category and its subcategory: there is no need to take pages out of the parent category purely because of their membership of a non-diffusing subcategory. (Of course, if the pages also belong to other subcategories that do cause diffusion, then they will not appear in the parent category directly.) Non-diffusing categories should be identified with a template on the category page: Subcategories defined by gender, ethnicity, religion, and sexuality should almost always be non-diffusing subcategories to prevent othering. The Wikipedia:Categorizing articles about people guideline outlines the rules on these categories in more detail. Note that some categories can be non-diffusing on some parents and diffusing on others. For example, Category:British women novelists is a non-diffusing subcategory of Category:British novelists, but it is a diffusing subcategory of Category:Women novelists by nationality. Sort keys By default, a category page will list its member pages and subcategories alphabetically by their page titles. Sometimes, this is undesirable, so sort keys are needed to produce a better ordering. A sort key can be added to a page using the magic word {{DEFAULTSORT}}, which will cause the page to be sorted in categories under a different specified title. (Per MOS:ORDER, this is placed just before the list of category declarations.) The page title and DEFAULTSORT can also be overridden for individual categories. For the mechanics, see Help:Category § Sorting category pages. People are usually sorted by last name rather than first name, so "Last name, First name" sort keys are used (e.g. Washington, George for George Washington). There are many other rules for sorting people's names; for more information, see Wikipedia:Categorization/Sorting names. Other sort key considerations (in no particular order): Inappropriate categorization Anyone who can edit a page may remove a questionable categorization. If an article has an "incorrect" or "inappropriate" category, remove that category from the article, and replace it (if applicable) with a more correct category. Even if an article may occupy the grey areas of a category's inclusion criteria, that is not a valid reason to keep the article in a category. If a particular article does not fit the inclusion criteria of a category, then the article simply should not be added to it. If categorization of any particular page is disputed, please discuss the categorization on the talk page of the page in question. If the category seems reasonable, but questionable in some cases, consider whether you can solve (part of) the problem by writing a clearer category description. If you have a proposal for a better name for the category or for a wider re-arrangement of the categorization scheme, or if you have a concern that may apply to several members of the category (such as if the category violates one or more sections on this page, Wikipedia:Categorizing articles about people, Wikipedia:Overcategorization, or other Wikipedia policies and guidelines), you can start or participate in a discussion about the category. Category talk pages are not always widely watched. Consider whether you can invite more potentially interested people to take part in a discussion, such as by discussing it at a relevant WikiProject, or at Wikipedia:WikiProject Categories. Another option could be to nominate the category for discussion at Wikipedia:Categories for discussion, or if the category name has an obvious typographical error, you can list it for speedy renaming at Wikipedia:Categories for discussion/Speedy. See Wikipedia:Categories for discussion/How-to for instructions on how to use the templates for: deletion ({{cfd}}), renaming ({{cfr}}), or merging ({{cfm}}). If you are in a content dispute, see Wikipedia:Dispute resolution for what to do next. Category cleanup templates See also Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Project_namespace] | [TOKENS: 2052] |
Contents Wikipedia:Project namespace The project namespace or Wikipedia namespace is a namespace consisting of administration pages with information or discussion about Wikipedia. Pages in this namespace will always have the prefix Wikipedia:. They can also be reached by alias WP: or the standard prefix (for any MediaWiki site) Project:. Its namespace number is four (4). Terminology Content Pages within the "Project namespace" themselves are not part of the encyclopedia proper. These administrative pages are intended for use by editors or by automated tools for the organization and governance of the encyclopedia. Consequently, they do not generally need to conform to the same content protocols or style conventions as articles. Nevertheless, these pages, as with all pages, should be accessible and must comply with Wikipedia's conduct and legal policies. The project namespace is not a free web host and should not be used as a long-term archive to host pages that look like articles. Articles in the project namespace under construction may be moved to the draft namespace or userspace draft allowing time for their development and feedback before being moved to Wikipedia's mainspace. Stalled or abandoned drafts and pages in the project namespace that violate policies applicable to non-content pages may be subject to deletion. Editors may not violate copyrights or harass anywhere on Wikipedia. Under the criteria for speedy deletion, these types of pages are subject to expeditious deletion. See below for more information. Pages within project namespace The project namespace pages are organized according to their function within the overall project schema. This includes Wikipedia official policies and guidelines, process pages, discussion pages, optional essays, maintenance pages, informative pages, and historical pages. For lists of pages in the project namespace, see: A main gateway for the project namespace is Community portal. The Community Portal includes categorized links to the more commonly used pages related to the project. A link to the Community Portal page is available in the sidebar. Policies and guidelines pages describe Wikipedia's best practice and clarify principles that are widely accepted by the community and have been through the Wikipedia review process. These pages are marked with the {{policy}}, {{guideline}} or {{MoS guideline}} template. For summaries of key policies, see List of policies. For summaries of key guidelines, see List of guidelines. For summaries of guidelines about Wikipedia's house style, see the Manual of Style contents page. For information on editing policies or guidelines see Edits to policies and guidelines. Process pages help facilitate application of the policies and guidelines governing all Wikipedia pages (e.g., Wikipedia:Articles for deletion). See Wikipedia processes for details. Many pages in the Wikipedia namespace have nothing to do with rules or implementation of those rules, and thus do not belong in the above categories. See Wikipedia:The difference between policies, guidelines and essays for more information. Some pages are designed for discussions, such as the Village pumps. Others serve as noticeboards to draw attention to discussions taking place elsewhere, such as the centralized discussions page and various requests for comments pages. While many of these pages operate like talk pages, some of them have posting rules (at the top of the page) which may be administratively enforced, and they also have their own talk pages, usually about the management of the noticeboard or other process in question. To ask a question or make a request, see the request directory. For a listing of ongoing discussions and current requests, see the dashboard. Maintenance pages are used to help facilitate the organization and clean-up of articles to bring them up to encyclopedic standards. These editor- and bot-generated pages typically contain articles and other pages requiring maintenance or attention. (e.g., Wikipedia:Dusty articles). The Special namespace also contains bot generated maintenance reports (e.g. Special:UncategorizedPages). See Wikipedia maintenance for details. Informative and instructional pages are typically edited by the community; while not policies or guidelines themselves, they are intended to supplement or clarify Wikipedia guidelines, policies, or other Wikipedia processes and practices that are communal norms. Where essay pages offer advice or opinions through viewpoints, information pages should supplement or clarify technical or factual information about Wikipedia impartially. In comparison to policies and guidelines, information pages, like essay pages, have a limited status, and can reflect varying levels of consensus and vetting. These pages are typically marked with the {{Information page}}, {{Wikipedia how-to}}, or {{Supplement}}[a] template. There is a large amount of overlap between the Help namespace (which provides mainly technical information) and the Wikipedia namespace (which provides mainly procedural information and interpretation). For this reason, redirects and hatnotes are often set up between these two namespaces. See Help:About help pages for more information. For a listing of how-to and information pages, see the help directory. Essays about Wikipedia may be written by anyone; some represent widespread norms, others only represent minority viewpoints. Essays can be long monologues or short theses, serious or funny, informative or opinionated. Essays, like information pages, have no official status, and do not speak for the Wikipedia community as they may be created and edited without overall community oversight. Essays are typically marked with one of the various essay templates. See Wikipedia:Essays for more information. For a listing of essays, see the essay directory. Pages of a WikiProject are the central place for editor collaboration and organization on a particular topic area. Many WikiProjects compose "advice essays" about how to apply Wikipedia's policies and guidelines to their specific subject area. Pages with Wikipedia:WikiProject prefix form a WikiProject pseudo-namespace. These pages are typically marked with the {{WikiProject status}} or {{WikiProject advice}} template. For a listing of projects, see the directory of WikiProjects. For additional resources, or if you have any questions, please visit the WikiProject Council. A historical page or process is one which is no longer in use, or is no longer relevant or consensus has changed about its content. They are kept as records of past Wikipedia processes to give context to historical discussions and to inform future discussions on similar topics. These pages are typically marked with the {{historical}}, {{superseded}} or {{dormant}} templates. See HISTORICAL for more details. Creating new project pages Essays and information pages may be established by writing them and adding {{Essay}}, {{Information page}}, {{Wikipedia how-to}}, or similar templates to the page. Essays and information pages in the "Wikipedia namespace" should not be used to create an alternative rule set. Creation of new guideline and policy pages require discussion and a high level of consensus from the entire community before publication (see WP:PROPOSAL for procedural details). For general recommendations about the creation and improvement of existing guideline and policy pages, see Wikipedia:Policy writing is hard. The project namespace contains many pages and a lot of information. Try to avoid creating new pages unnecessarily. Before creating a new page, you should consider looking through the topical index, essay directory and help directory to see if the material belongs at a page that already exists. It is strongly recommended that you propose a WikiProject at the proposal page, if there are enough willing editors to participate in the project. Already existing WikiProjects can be found in the directory of WikiProjects. Deletion of project pages If editing can improve the page, this should be done rather than deleting the page. Disputes over page content are usually not dealt with by deleting the page, except in severe cases. The content issues should be discussed at the relevant talk page, and other methods of dispute resolution should be used first, such as listing on "requests for comments" for further input. If a project page clearly satisfies a "general" speedy deletion criterion, it should be tagged with the appropriate template. The usual deletion process is to post a request at miscellany for deletion to have project pages deleted. Make sure that a notice of the request is posted to the talk page of the affected project. If the project is under a parent WikiProject, a notice should be posted there as well. Essays, information pages, and other informal pages that are only supported by a small minority of the community may be moved to the primary author's userspace over deletion. The Wikipedia community has historically tolerated a wide range of Wikipedia related subjects and viewpoints on user pages. It is generally preferable that inactive WikiProjects not be deleted, but instead be marked as {{WikiProject status|inactive}}, or redirected to a relevant WikiProject, or changed to a task force of a parent WikiProject, unless the WikiProject was incompletely created or is entirely undesirable. See WP:INACTIVEWP for more details. Policies, guidelines and process pages should not be nominated for deletion, as such nominations will probably be considered disruptive, and the ensuing discussions closed early. The {{Disputed tag}} template is typically used for claims that an essay, WikiProject advice or information page was recently assigned guideline or policy status without proper or sufficient consensus being established. See WP:Local consensus for more details. If the entire project page is a copyright violation, nominate it for G12 speedy deletion with {{db-copyvio|url=link to the source text}}. For issues only affecting specific revisions on a page (where other page versions are fine), revision delete is usually more appropriate. To request revision-deletion for copyright violations, see {{Copyvio-revdel}} for details. Namespace history The Wikipedia namespace began after the January 2002 release of the Phase II software. Prior to that, an index of related pages was maintained at Wikipedia utilities, which remained for some time afterwards at Wikipedia:Utilities. This list of pages in the project namespace has been replaced by the pages as described above. Project namespace search By default, Wikipedia's search engine looks in the Article namespace. To search in the Wikipedia namespace, you would type the project page prefix Wikipedia: (Wikipedia followed by a colon) or WP: (WP followed by a colon), followed by some text identifying or relating to the search target. You can also use the Special:Search box below to locate Wikipedia/Project namespace pages. See Help:Searching for more information. Project namespace banners See Wikipedia:Template messages/Wikipedia namespace for a listing of Wikipedia namespace banners. Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_ref-Resnick_20-1] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Userboxes] | [TOKENS: 2175] |
Contents Wikipedia:Userboxes A userbox (commonly abbreviated as UBX) is a small colored box (see examples) designed to appear only on a Wikipedian's user page as a communicative notice about the user, in order to directly or indirectly help Wikipedians collaborate more effectively on articles. The first userboxes were introduced to support the Babel inter-language effort by indicating the skills of users in other languages. Be mindful that, like anything else you add to Wikipedia, userboxes you add will likely be public forever, even if you later have your user page deleted. (Like other Wikipedia pages, your user page will be regularly archived in the database dumps and may be archived by third parties, such as the Internet Archive.) Using existing userboxes Userboxes belong on their users' pages. In some cases, it may be considered uncivil to place userboxes on other users' pages without their permission (especially in a mean-spirited way—such as accusing a user of racism, sexism, homophobia, transphobia, etc.). However, userboxes may be placed on non-mainspace talk pages by anyone. (See also Wikipedia:Talk page.) The {{clear}} template can be placed after the plain userbox if text is added on a new line immediately after it. A gallery of existing userboxes can be found at Wikipedia:Userboxes/Galleries. The standard syntax for adding a userbox to your user page (also known as transclusion) is: {{user name_of_box}}. If you do not have any userboxes on your user page yet, you want to begin using them, and you want to add them down the right side of your user page starting at the top, then edit your user page and, at or near the top of the source for your user page, add {{Userboxtop |}}, add the transclusion(s) for the userbox(es) you wish to include, and add {{userboxbottom}} just after the last userbox transclusion. Please see the #Grouping_userboxes section for other ways of grouping and placing userboxes. You may decide to substitute the template code onto your user page using the syntax {{subst:user name_of_box}}. The use of "subst:" will ensure that the template is always displayed in its form when you add it to your user page (i.e. it will not reflect subsequent edits to the template). This method will lead to large amounts of code on your user page. Creating a new userbox If you have designed a userbox that you would like to make available to others, you may wish to first display it on the New Userboxes talk page for community comment. The namespace you place your userbox in matters. Userboxes may only be created or displayed in the User, Project (Wikipedia), or Template namespaces. So which prefix is best for your userbox: User:, Wikipedia:, or Template:? Since content in User:space represents individual editors more than the community, they are traditionally given more leeway than in other namespaces. Thus, userboxes in User:space may not be as directly collaborative in nature as those in Template:or Wikipedia:namespaces, which are expected to adhere more tightly with certain policies and guidelines, especially Neutral point of view and What Wikipedia is not. This should also be considered before moving a userbox from userspace to any other namespace. If you are uncertain if your userbox is in the correct namespace, consider presenting the userbox at the New Userboxes talk page for community comment. A userbox can be coded to autocategorise any user pages which transclude the userbox into one or more user categories. However, do not use autocategorisation without good reason. The userbox page itself should be categorised in a relevant subcategory of Category:Userboxes. For example, User:Sting au/Beekeeper is categorised in Category:Occupation user templates using the following code added to the end of the page: Always enclose the category in <noinclude>...</noinclude> tags so that the user pages on which the box is placed are not categorised as user template pages themselves. Userbox content Simply: If content is not appropriate on other parts of a user page (see what may I not have in my user pages?), it is not appropriate within userboxes. Wikimedia Commons has a large range of icons for use within boxes. However, if you select an image from somewhere else, make certain the image has a free license. Templates (which includes userboxes and topicons) on user pages may not contain any copyrighted content not under free license; so, for example, "non-free" images are explicitly forbidden per non-free content use criterion #9 of Wikipedia's non-free content use policy. This is interpreted strictly and without exception. See Wikipedia's non-free use policy guidelines for more details. Please be mindful of the color contrast guidelines at WP:COLOR – low-contrast colors present accessibility barriers to people with color-blindness or other visual disabilities. Typical userbox content: Typical verbs: Additional examples, using the linking verb is: Another option is to allow changing the verb phrase using a template parameter. This is especially useful in location userboxes: To avoid the awkward phrasing ("This user"), you can use "{{#titleparts: {{PAGENAME}} | 1 | 1 }}" (without the quotes) to insert the name of the user that includes it on their page (e.g. "{{#titleparts: {{PAGENAME}} | 1 | 1 }} loves to watch cricket." produces "Userboxes loves to watch cricket."). Avoid verbs (often followed by the word "that") which may be used to suggest negative comparison and would thus be potentially divisive, such as: Avoid negative verb phrases which can be potentially divisive, such as: Also avoid compound sentences which are positive and negative, such as: Essentially: Express what you do like, rather than what you don't like. Express what you comprehend, rather than what you don't comprehend. Express what you do, rather than what you don't. Express who you are, rather than who you aren't. There are a number of box types to select from when deciding to make a userbox. The most commonly used design is the "Standard box". It has one square shaped area on the left ("id label") and a larger rectangular space on the right ("info area"). For ease of use, userboxes are typically made using maker-templates that have a number of parameters. The id label and info content area can include text, links, and/or images, using the usual Wikipedia syntax. Typically, the info box will contain a sentence with a link or two, while the id box will contain a few letters, a symbol, or a 43px image. or {{Userbox |side-box colour |main box colour |side-box content |main box content}} or {{Userbox-r |side-box colour |main box colour |side-box content |main box content}} or {{Userbox-2 |side-box 1 colour |main box colour |side-box 1 content |message |side-box 2 content |border colour |side-box 2 colour |main box font-colour |box border thickness}} Note: If omitted, border colour and side-box 2 colour default to the same colour as side-box 1, and font colour is black. Default border thickness is 1. or {{Userbox-m |box colour |box content}} To make it easier to quote the generation code for a userbox in a uniform format, a template {{Userbox sample compact}} has been made available, which produces a picture of the userbox along with the code necessary to create it. To use it, just give it exactly the same parameters you would give the {{Userbox}} template. You must use subst:, or the template will not work properly. An example is shown below: Produces: {{Userbox | border-c = #999 | border-s = 1 | id-c = yellow | id-s = 14 | id-fc = black | info-c = #EEE | info-s = 8 | info-fc = black | id = UBX | info = This is a Userbox. | float = left }} There are not yet any similar templates available for userboxes created by the templates {{Userbox-r}}, {{Userbox-2}} and {{Userbox-m}}. Grouping userboxes You can use HTML <div>...</div> tags to group together various userboxes as well. For example: Which produces: As with the Babel box, there is a box to group userboxes together. Just make a list of userboxes with {{Userboxtop|box-name}} at the top, followed by your list of userboxes, and {{Userboxbottom}} at the bottom. For the first example, the box is created using the following list: If you wish to group your userboxes into expandable lists in the {{Userboxtop}} template, one way of doing this is by using collapsible tables with certain classes. Wikipedia's Mediawiki configuration attempts to make this happen through a combination of ECMAScript and CSS. This method is accessible to users with ECMAScript (jScript/JavaScript) disabled, and should work in most modern browsers (it is the method used by {{Navbox}}). Include 'collapsed' if you want the box to start closed, omit it if you want the box to start open. You can also use multiple tables to get separate collapsible parts like in the example to the right. You can now use {{Userboxgroup}} to create this kind of box. The Babel grouping system can also be used, e.g. {{Babel|sv|no-4|in Rome}}, which generates: However, it only works for user boxes with the "User" prefix, which must then be dropped for the arguments. Also, boxes that need arguments of their own (such as {{User:UBX/Monty Python}} or {{User Translator}}) are difficult to use with the Babel system. They can be used by including parameters with magic word replacing the vertical bars and equals signs, e.g. {{Babel|fr-5|ja-2|Translator{{!}}fr{{!}}project{{=}}no|:UserBox/User Earth}} (result below), but this behavior is not officially supported by the template, and may not work in all contexts and break at some point in the future. Another alternative would be to table your userboxes: would produce the following: To center one userbox use this coding: which produces: See also |
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[SOURCE: https://en.wikipedia.org/wiki/Great_West_Television] | [TOKENS: 277] |
Contents Great West Television Great West Television (GWTV) is a television system in regional British Columbia, made up of the following stations: With the exception of local news and other local programming, the majority of the programming on CJDC and CFTK comes from CTV 2, while CKPG obtains the majority of its programs from the Rogers Communications-owned Citytv. Syndicated programs from CHUM Limited had also been seen on these stations until October 2006, when CBC Television expanded to a 24-hour schedule and the GWTV stations accordingly dropped all syndicated shows from their schedules to accommodate the new CBC schedule. This arrangement was used by CKPG until August 31, 2008, when it switched affiliations to E!. Beginning September 1, 2009, CKPG switched affiliations to Citytv after the E! system ceased operations. On February 22, 2016, CFTK and CJDC disaffiliated from CBC and became CTV 2 owned and operated stations. Great West Television is the successor to a previous mini-network in Northern British Columbia, Northern Television. That sub-system folded in the late 1990s, and was reborn as Great West Television, joined by Jim Pattison Group's CKPG-TV. References This article about a Canadian media company is a stub. You can help Wikipedia by adding missing information. |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:List_of_policies] | [TOKENS: 296] |
Contents Wikipedia:List of policies Where a discrepancy exists, the policy page itself overrides. Changing this page does not change policy. Likewise, adding a page to this summary does not elevate it to policy status. Policies are promoted through consensus. See Wikipedia:Policies and guidelines for more. For an explanatory supplement of this page, see Wikipedia:Simplified ruleset. This page is broken into the following categories: Policies can also be navigated via the other directory, categories, the navigation template or by a custom search box (as seen below). Conduct Pages currently in Category:Wikipedia conduct policies: Content Pages currently in Category:Wikipedia content policies: Deletion Pages currently in Category:Wikipedia deletion policies: Enforcement Pages currently in Category:Wikipedia enforcement policies: Legal Pages currently in Category:Wikipedia legal policies: These are policies with legal implications. Outside of policies, such as those below and the office actions policy, Wikipedia does not censor itself of content that may be objectionable or offensive, or adopt other perennial legal proposals over content, so long as the content obeys the law of the United States. Legal issues are raised by filing a formal complaint with the Wikimedia Foundation. Procedural Pages currently in Category:Wikipedia procedural policies: Miscellaneous Recent changes See also Tutorial Related essays Five pillarsStatement of our principles Jimbo's statementHistoric principles Simplified rulesetSynopsis of our conventions Wikimedia principlesCommon to all projects(in Meta-Wiki) PrinciplesOther essays on Wikipedia's principles |
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[SOURCE: https://en.wikipedia.org/wiki/Call_sign] | [TOKENS: 3649] |
Contents Call sign In broadcasting and radio communications, a call sign (also known as a call name or call letters—and historically as a call signal—or abbreviated as a call) is a unique identifier for a transmitter station. A call sign can be formally assigned by a government agency, informally adopted by individuals or organizations, or even cryptographically encoded to disguise a station's identity. The use of call signs as unique identifiers dates to the landline railroad telegraph system. Because there was only one telegraph line linking all railroad stations, there needed to be a way to address each one when sending a telegram. In order to save time, two-letter identifiers were adopted for this purpose. This pattern continued in radiotelegraph operation; radio companies initially assigned two-letter identifiers to coastal stations and stations on board ships at sea. These were not globally unique, so a one-letter company identifier (for instance, 'M' and two letters as a Marconi station) was later added. By 1912, the need to quickly identify stations operated by multiple companies in multiple nations required an international standard; an ITU prefix would be used to identify a country, and the rest of the call sign an individual station in that country. Transportation Merchant and naval vessels are assigned call signs by their national licensing authorities. In the case of states such as Liberia or Panama, which are flags of convenience for ship registration, call signs for larger vessels consist of the national prefix plus three letters (for example, 3LXY, and sometimes followed by a number, e.g. 3LXY2). United States merchant vessels are given call signs beginning with the letters "W" or "K" while US naval ships are assigned call signs beginning with "N". Originally, both ships and broadcast stations were assigned call signs in this series consisting of three or four letters. Ships equipped with Morse code radiotelegraphy, or life boat radio sets, aviation ground stations, broadcast stations were given four-letter call signs. Maritime coast stations on high frequency (both radiotelegraphy and radiotelephony) were assigned three-letter call signs. As demand for both marine radio and broadcast call signs grew, gradually American-flagged vessels with radiotelephony only were given longer call signs with mixed letters and numbers. Leisure craft with VHF radios may not be assigned call signs, in which case the name of the vessel is used instead. Ships in the US still wishing to have a radio license are under FCC class SA: "Ship recreational or voluntarily equipped." Those calls follow the land mobile format of the initial letter K or W followed by one or two letters followed by three or four numbers (such as KX0983 or WXX0029). U.S. Coast Guard small boats have a number that is shown on both bows (i.e. port and starboard) in which the first two digits indicate the nominal length of the boat in feet. For example, Coast Guard 47021 refers to the 21st in the series of 47-foot motor lifeboats. The call sign might be abbreviated to the final two or three numbers during operations, for example: Coast Guard zero two one. Originally aviation mobile stations (aircraft) equipped with radiotelegraphy were assigned five-letter call signs (e.g. KHAAQ). Land stations in aviation were assigned four-letter call signs (e.g. WEAL – Eastern Air Lines, NYC.) These call signs were phased out in the 1960s when flight radio officers (FRO) were no longer required on international flights. The Russian Federation kept FROs for the Moscow-Havana run until around 2000. Currently, all signs in aviation are derived from several different policies, depending upon the type of flight operation and whether or not the caller is in an aircraft or at a ground facility. In most countries, unscheduled general aviation flights identify themselves using the call sign corresponding to the aircraft's registration number (also called N-number in the U.S., or tail number). In this case, the call sign is spoken using the International Civil Aviation Organization (ICAO) phonetic alphabet. Aircraft registration numbers internationally follow the pattern of a country prefix, followed by a unique identifier made up of letters and numbers. For example, an aircraft registered as N978CP conducting a general aviation flight would use the call sign November-niner-seven-eight-Charlie-Papa. However, in the United States a pilot of an aircraft would normally omit saying November, and instead use the name of the aircraft manufacturer or the specific model. At times, general aviation pilots might omit additional preceding numbers and use only the last three numbers and letters. This is especially true at uncontrolled fields (those without control towers) when reporting traffic pattern positions or at towered airports after establishing two-way communication with the tower controller. For example, Skyhawk eight-Charlie-Papa, left base. In commercial aviation, the callsign is usually the ICAO Flight number. For example, Delta Air Lines Flight 744 would have the flight number DL744 and the callsign would be Delta 744. In most countries, the aircraft call sign or "tail number"/"tail letters" (also known as registration marks) are linked to the international radio call sign allocation table and follow a convention that aircraft radio stations (and, by extension, the aircraft itself) receive call signs consisting of five letters. For example, all British civil aircraft have a five-letter registration beginning with the letter G, which can also serve for a call sign. Canadian aircraft have a call sign beginning with C–F or C–G, such as C–FABC. wing-in-ground-effect vehicles and hovercraft in Canada are eligible to receive C–Hxxx call signs, and ultralight aircraft receive C-Ixxx call signs. In days gone by, even American aircraft used five-letter call signs, such as KH–ABC, but they were replaced prior to World War II by the current American system of civilian aircraft call signs (see below). One exception to the parallelism between registration and call sign is ultralight airplanes in France, who are not obliged to carry a radio and indeed often don't. Radio call signs used for communication in crewed spaceflight are not formalized or regulated to the same degree as for aircraft. The three nations currently launching crewed space missions use different methods to identify the ground and space radio stations; the United States uses either the names given to the space vehicles, or else the project name and mission number. Russia traditionally assigns code names as call signs to individual cosmonauts, more in the manner of aviator call signs, rather than to the spacecraft. The only continuity in call signs for spacecraft have been the issuance of "ISS"-suffixed call signs by various countries in the amateur radio service as a citizen of their country has been assigned there. The first amateur radio call sign assigned to the International Space Station was NA1SS by the United States. OR4ISS (Belgium), DP0ISS (Germany), and RS0ISS (Russia) are examples of others, but are not all-inclusive of others also issued. Broadcasting Broadcasters are allocated call signs in many countries. While broadcast radio stations will often brand themselves with plain-text names, identities such as "Cool FM", "Rock 105" or "the ABC network" are not globally unique. Another station in another city or country may (and often will) have a similar brand, and the name of a broadcast station for legal purposes is normally its internationally recognized ITU call sign. Some common conventions are followed in each country. Broadcast stations in North America generally use call signs in the international series. In the United States of America, they are used for all FCC-licensed transmitters. The first letter generally is K for stations located west of the Mississippi River and W for eastern stations. Historic exceptions in the east include KYW in Philadelphia and KDKA in Pittsburgh, while western exceptions include WJAG in Norfolk, Nebraska, and WOAI in San Antonio. All new call signs have been four-character for some decades, though there are historical three-character call letters still in use today, such as KSL in Salt Lake City; KOA in Denver; WHO in Des Moines; WWJ and WJR in Detroit; WJZ-TV in Baltimore; WJW-TV in Cleveland; WBT in Charlotte; WBZ in Boston; WSM in Nashville; WGY in Schenectady; WRC-TV in Washington, D.C.; WGR in Buffalo; KFI; KGW-TV in Portland; KNX and KHJ in Los Angeles; and WGN, WLS and WLS-TV in Chicago. American radio stations announce their call signs (except for rare cases in which would interfere with the broadcast of very long works of classical or opera music) at or near the top of each hour, as well as sign-on and sign-off for stations that do not broadcast 24 hours. Beginning in the early 2000s, digital subchannels were assigned a -DT# suffix, where # is the subchannel (starting with the number 2). In Canada, the publicly owned Canadian Broadcasting Corporation uses the prefix CB; privately owned commercial broadcast stations use primarily CF and CH through CK prefixes; and four stations licensed to St. John's by the Dominion of Newfoundland government retain their original VO calls. In Mexico, AM radio stations use XE call signs (such as XEW-AM), while the majority of FM radio and television stations use XH. Broadcast call signs are normally four or five alpha characters in length, plus the -FM, -TV, or -TDT suffix where applicable. In South America call signs have been a traditional way of identifying radio and TV stations. Some stations still broadcast their call signs a few times a day, but this practice is becoming very rare. Argentinian broadcast call signs consist of two or three letters followed by multiple numbers, the second and third letters indicating region. In Brazil, radio and TV stations are identified by a ZY, a third letter and three numbers. ZYA and ZYB are allocated to television stations; ZYI, ZYJ, ZYL, and ZYK designate AM stations; ZYG is used for shortwave stations; ZYC, ZYD, ZYM, and ZYU are given to FM stations. In Australia, broadcast call signs are optional, but are allocated by the Australian Communications and Media Authority and are unique for each broadcast station. Most European and Asian countries do not use call signs to identify broadcast stations, but Japan, South Korea, Indonesia, the Philippines and Taiwan do have call sign systems. Spanish broadcasters used call signs consisting of E followed by two letters and up to three digits until the late 1970s. Portugal had a similar system, their callsigns beginning with C; these also ceased to be used in the 1970s. Britain has no call signs in the American sense, but allows broadcast stations to choose their own trade mark call sign up to six words in length. Amateur radio Amateur radio call signs are in the international series and normally consist of a one or two character prefix, a digit (which may be used to denote a geographical area, class of license, or identify a licensee as a visitor or temporary resident), and a 1-, 2-, or 3-letter suffix. In Australia, call signs are structured with a two letter prefix, a digit (which identifies geographical area), and a 2, 3 or 4 letter suffix. This suffix may be followed by a further suffix, or personal identifier, such as /P (portable), /M (mobile), /AM (aeronautical mobile) or /MM (maritime mobile). The number following the prefix is normally a single number (0 to 9). Some prefixes, such as Djibouti's (J2), consist of a letter followed by a number. Hence, in the hypothetical Djibouti call sign, J29DBA, the prefix is J2, the number is 9, and the suffix is DBA. Others may start with a number followed by a letter, for example, Jamaican call signs begin with 6Y. When operating with reciprocal agreements under the jurisdiction of a foreign government, an identifying station pre-pends the call sign with the country prefix and number of the country/territory from which the operation is occurring. For example, W4/G3ABC would denote a licensed amateur from the United Kingdom who is operating in the fourth district of the United States. There are exceptions; in the case of U.S./Canadian reciprocal operations, the country/territory identifier is, instead, appended to the call sign; e.g., W1AW/VE4, or VE3XYZ/W1. Special call signs are issued in the amateur radio service either for special purposes, VIPs, or for temporary use to commemorate special events. Examples include VO1S (VO1 as a Dominion of Newfoundland call sign prefix, S to commemorate Marconi's first trans-Atlantic message, a single-character Morse code S sent from Cornwall, England to Signal Hill, St. John's in 1901) and GB90MGY (GB as a Great Britain call sign prefix, 90 and MGY to commemorate the 90th anniversary of historic 1912 radio distress calls from MGY, the Marconi station aboard the famed White Star luxury liner RMS Titanic). The late King Hussein of Jordan was issued a special amateur license number, JY1, which would have been the shortest possible call sign issued by the Hashemite Kingdom of Jordan. When identifying a station by voice, the call sign may be given by simply stating the letters and numbers, or using a phonetic alphabet. Some countries mandate the use of the phonetic alphabet for identification. Military call signs In wartime, monitoring an adversary's communications can be a valuable form of intelligence. Consistent call signs can aid in this monitoring, so in wartime, military units often employ tactical call signs and sometimes change them at regular intervals. In peacetime, some military stations will use fixed call signs in the international series. The United States Army uses fixed station call signs which begin with W, such as WAR, used by U.S. Army Headquarters. Fixed call signs for the United States Air Force stations begin with A, such as AIR, used by USAF Headquarters. The United States Navy, United States Marine Corps, and United States Coast Guard use a mixture of tactical call signs and international call signs beginning with the letter N. In the British military, tactical voice communications use a system of call signs of the form letter-digit-digit. Within a standard infantry battalion, these characters represent companies, platoons and sections respectively, so that 3 Section, 1 Platoon of F Company might be F13. In addition, a suffix following the initial call sign can denote a specific individual or grouping within the designated call sign, so F13C would be the Charlie fire team. Unused suffixes can be used for other call signs that do not fall into the standard call sign matrix, for example the unused 33A call sign is used to refer to the company sergeant major. Transmitters requiring no call signs No call signs are issued to transmitters of the long-range navigation systems (Decca, Alpha, Omega), or transmitters on frequencies below 10 kHz, because frequencies below 10 kHz are not subject to international regulations. In addition, in some countries lawful unlicensed low-power personal and broadcast radio signals (Citizen's Band ("CB"), Part 15 or ISM bands) are permitted; an international call sign is not issued to such stations due to their unlicensed nature. Also, wireless network routers or mobile devices and computers using Wi-Fi are unlicensed and do not have call signs. On some personal radio services, such as CB, it is considered a matter of etiquette to create one's own call sign, which is called a handle (or trail name). Some wireless networking protocols also allow SSIDs or MAC addresses to be set as identifiers, but with no guarantee that this label will remain unique. Many mobile telephony systems identify base transceiver stations by implementing cell ID and mobile stations (e.g., phones) by requiring them to authenticate using international mobile subscriber identity (IMSI). International regulations no longer require a call sign for broadcast stations; however, they are still required for broadcasters in many countries, including the United States. Mobile phone services do not use call signs on-air because the phones and their users are not licensed, instead the cell operator is the one holding the license. However, the U.S. still assigns a call sign to each mobile-phone spectrum license. In the United States, voluntary ships operating domestically are not required to have a call sign or license to operate VHF radios, radar or an EPIRB. Voluntary ships (mostly pleasure and recreational) are not required to have a radio. However, ships which are required to have radio equipment (most large commercial vessels) are issued a call sign. Callbooks A directory of radio station call signs is called a callbook. Callbooks were originally bound books that resembled a telephone directory and contained the name and addressees of licensed radio stations in a given jurisdiction (country). Modern Electrics published the first callbook in the United States in 1909. Today, the primary purpose of a callbook is to allow amateur radio operators to send a confirmation post card, called a QSL card to an operator with whom they have communicated via radio. Callbooks have evolved to include on-line databases that are accessible via the Internet to instantly obtain the address of another amateur radio operator and their QSL Managers. The most well known and used on-line QSL databases include QRZ.COM, IK3QAR, HamCall, F6CYV, DXInfo, OZ7C and QSLInfo. See also References Further reading External links |
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