Dead Space 2 is a 2011 survival horror game developed by Visceral Games and published by Electronic Arts. It was released for PlayStation 3, Windows, and Xbox 360 in January. The second mainline entry in the Dead Space series, set on the Titan-based Sprawl space station, the story follows series protagonist Isaac Clarke as he fights against both an outbreak of the monstrous Necromorphs and debilitating mental illness induced by the alien Markers. Gameplay features Isaac exploring a series of levels, solving puzzles to progress, and finding resources while fighting off Necromorphs. The game included a competitive multiplayer, with the Sprawl's security forces fighting teams of Necromorphs.

Pre-production began in 2008, immediately following the release of the original Dead Space. The storyline, alongside building upon and expanding the series lore, focused on Isaac's deteriorating mental state, with classic nursery rhymes being used as motifs playing into the narrative and Isaac's visions. The gameplay was adjusted based on feedback from players and the team's experience, in addition to making it faster-paced and having more overt action elements. Multiplayer was included as a separate mode based on both fan feedback and requests from Electronic Arts.

Announced in 2010, Dead Space 2 saw an extensive marketing campaign from its publisher. It was supplemented by several other multimedia projects including the novel Dead Space: Martyr, the animated movie Dead Space: Aftermath, the spin-off game Dead Space Ignition, and a mobile prequel. A downloadable content expansion, subtitled Severed, was released in March 2011 and followed characters from the spin-off Dead Space: Extraction.

Dead Space 2 received critical acclaim. Reviews of the game praised its gameplay, narrative, atmosphere, graphics, and audio and level design, with many calling it superior to the original Dead Space. The game sold two million copies during its opening week, but according to later developer interviews Electronic Arts was disappointed in its commercial performance. A direct sequel, Dead Space 3, was released in 2013.

Gameplay

Dead Space 2 is a science-fiction-themed survival horror video game. Players control lead character Isaac Clarke  from a third-person perspective through a level-based narrative campaign. Isaac navigates the Sprawl space station completing narrative-based missions, solving puzzles within the environment, and fighting monsters dubbed Necromorphs. Saving is done manually at crafting stations, and automatically at checkpoints. The New Game Plus allows players to carry over all current items and equipment into a new campaign. There are four difficulty levels unlocked at the game's start;  Casual, Normal, Survivalist, Zealot. A fifth difficulty level, Hard Core, is unlocked after the first playthrough; Hard Core restarts the player from their last save with each death and only allows three saves across the campaign.

As with the original Dead Space, in-game information is shown through diegetic holographic projections. Isaac's health and energy meters are shown on the back of his RIG suit, ammunition counts are shown on the weapons themselves, and opening the inventory screen does not pause the game. Audio and text logs can be picked up and reviewed during gameplay. A guideline can display the route to the next objective. While exploring, Isaac can break crates in the environment using either his melee attack or a stomp action. Two further abilities are Kinesis, which can move or pull objects in the environment including using Necromorph limbs as makeshift projectile weapons, and Stasis, which slows a target's movement for a limited time. Some areas are subject to zero-G, with Isaac using his RIG suit to explore areas, with jet packs allowing manoeuvrers across all directions and a boost function to speed through the environment. During some sections, Isaac can explore vacuum areas, though he has a limited air supply which must be replenished using oxygen tanks. Before using some devices or opening some doors, a hacking minigame must be completed on a time limit. Displaying as a circular graphic with a bar showing a display area, the player must manoeuvrer the bar and press a button when the highlighted area is green, with pressing the button when the color is red causing an electric shock for Isaac.

While exploring, Isaac must fight different types of Necromorphs which emerge from the environment; on any but the lowest difficulty, Necromorphs can remain active and attack despite heavy damage. Using his assigned weapon, Isaac must cut off the Necromorphs' limbs to kill them, able to switch several weapons between horizontal and vertical firing modes. He can also stomp them to deal damage. There are also cinematic sections such as using the RIG suit's jets to avoid debris, and quick time events that can lead to a game over if failed. Weapons can be upgraded using nodes, which are installed at crafting stations and increase their power or ammunition. During exploration, items such as health packs and upgrade nodes, and ammunition for Isaac's weapons, can be either bought from shopping terminals, or picked up in the environment. In the latter case they can also be found on enemy corpses or retrieved from crates. Weapon schematics can also be found, being uploaded to the store on the next visit after being found and allowing Isaac to acquire new weapons and armor. Isaac's inventory is limited, with excess items able to be stored in a safe at save terminals.

Alongside the single-player campaign, a separate competitive multiplayer mode is included. Known as Outbreak mode, teams of four players take control of either a team defending the Sprawl, or a set of four Necromorph types whose goal is to kill the human team and feature slightly different controls. In the various modes, the human team is given different objectives ranging from defending a point, killing the Necromorph team, or completing an assigned technical task. The human team is given a series of five objectives to complete with each map. Each round swaps the players between the human and Necromorph teams. Necromorph players can choose the Necromorph they will spawn as: a Lurker, a Puker, a Spitter, or a member of the Pack. The maps, while using Sprawl locations mentioned in the main campaign, are unique to the multiplayer. Completing matches rewards experience points, unlocking rewards tailored to each side up to the level cap of 60.

Synopsis

Setting and characters
Dead Space 2 takes place in the year 2511, three years after the events of Dead Space. The action takes place on the Sprawl, a space station built by the Earth Government in the remains of Saturn's moon Titan in a period where humanity survived near-extinction due to resource depletion by mining other planets. During the previous game's events on the planet Aegis VII, an artifact called the Red Marker−copied from an alien artifact by the Earth Government (EarthGov) during a disastrous attempt to harvest its energy−was uncovered during an illegal mining operation. The mining colony was funded by the Church of Unitology, a group that worships the Markers as divine and seek an event of physical and spiritual union called Convergence. The Marker's influence triggered crippling mental illness in the colony, then the outbreak of a virus-like organism that reanimates corpses and turns them into Necromorphs, which overwhelmed the colony and the mining ship USG Ishimura. By the events of Dead Space 2, the Aegis VII incident has been covered up, and new Marker experiments begun on the Sprawl.

The main protagonist is Isaac Clarke (Gunner Wright), a Concordance Extraction Corporation (CEC) engineer who was sent with a team to the Ishimura and narrowly survived the infestation while destroying the Marker and the Necromorphs. Supporting characters who assist Isaac are Ellie Langford (Sonita Henry), a CEC heavy machinery pilot;  Nolan Stross (Curt Cornelius), a fellow patient of Isaac whose exposure to the Aegis VII Marker has left him insane; and Daina le Guin (Tahyna Tozzi), who initially provides aid to Isaac. The main antagonist is Director Hans Tiedeman (Lester Purry), an Earth Gov administrator in charge of the Sprawl who initiates a project to build another Marker in an attempt to control its power. Minor characters include Franco Delille, a hacker sent by Daina to rescue Isaac; and Foster Edgars (Rick Cramer), an Earth Gov scientist driven insane by the Marker. Isaac is also periodically tormented by visions of Nicole Brennan (Tanya Clarke), his girlfriend who died on the Ishimura.

The downloadable content (DLC) scenario Severed follows Sergeant Gabe Weller; a sprawl security officer who races to save his wife Lexine Murdoch from both the Necromorphs and EarthGov. Both are returning characters from the spin-off Dead Space: Extraction. Serving as the main antagonist in the expansion is Colonel Victor Bartlett who is Weller's superior officer.

Plot
Isaac, suffering from Marker-induced dementia and violent hallucinations, is freed from the asylum by Delille, who is immediately killed and turned into a Necromorph. Isaac escapes, finding the Sprawl overrun by Necromorphs and its survivors either being killed or committing suicide due to the Marker's influence. Guin reveals that Tiedemann recreated a Marker using the data in Isaac's mind, using memory blocking drugs on Isaac to prevent that data from destroying his mind. During his escape, Isaac runs into Stross, whose mental state is far worse than Isaac's but also knows how to access the Marker data and destroy the new Marker. Guin is revealed to be a Unitologist sent to capture Isaac, but an EarthGov ambush kills her and Isaac narrowly escapes. He soon allies with Ellie, who reluctantly guards Stross as they navigate the Sprawl, fighting both the Necromorphs and Tiedemann's attempts to contain them. Isaac is regularly tormented by visions of Nicole, who keeps asking Isaac to make them "whole". To reach the Sprawl's government sector where Tiedemann is holding up with the Marker, Isaac is forced to navigate the remains of the Ishimura, triggering more hallucinations.

Stross's mental state worsens to the point of attacking Ellie, gouging out her right eye with a screwdriver, then attacking Isaac later and being killed in self-defense. Ellie helps Isaac get into the government sector, then he tricks her aboard a shuttle and sends her away, having grown attached to her and not wanting her to share Nicole's fate. Guided by a passive version of Nicole, he gets inside the government sector, letting the Necromorphs inside to distract Tiedemann's security. The Necromorphs gather at the Marker, starting off Convergence, and Isaac uses a machine to unlock the Marker data in his mind. He kills Tiedemann, but is then forced to fight off a final hallucination of Nicole as she was used by the Marker to fulfil its wish of completing Convergence by merging with its creator, Isaac. As the Sprawl begins collapsing from the damage caused by the Marker, Ellie flies in and rescues Isaac. In a post-credits audio conversation, two EarthGov agents discuss further Marker sites.

During Severed, Weller is on patrol in the Sprawl's mines when the Necromorph attacks begin, warning Lexine−who is pregnant with their child−as he makes his way back to her. Weller is betrayed by his superior Victor Bartlett, who reveals the pair were subjects of the Oracle Program, intended to study both Lexine and Weller's survival of the Aegis VII incident and the potential use of their child. Bartlett, who was ordered by Tiedemann to kill all Marker-related subjects, is later attacked by two high-ranking EarthGov agents called the Oracles, who take Lexine. Weller chases after them, with Lexine escaping into a shuttle when the Oracles are killed by Necromorphs. Bartlett launches a final attack on Weller before he can board; Bartlett is killed and Weller fatally injured, with Weller's last act being helping Lexine to escape. An epilogue reveals Gabe's body has been taken for study by EarthGov, while the missing Lexine is to be killed once found.

Development
Pre-production on Dead Space 2 began in 2008 immediately following the release of Dead Space, which was released to critical praise. During this time, series publisher Electronic Arts rebranded the developer EA Redwood Shores as Visceral Games, restructuring it as a genre studio; it worked in parallel on Dead Space 2 and the hack and slash game Dante's Inferno. Describing their relationship with Electronic Arts, producer Shereif Fattouh said Visceral Games was given a large amount of autonomy as they had built up a lot of good will and internal support due to the success and quality of their projects. Executive producer Steve Papoutsis noted that the team felt under pressure, but described it as a self-imposed pressure to meet or surpass fan expectations and produce a quality product. The game was developed for Microsoft Windows, PlayStation 3 and Xbox 360, later described as the series main platforms. A Wii port was in production, but was cancelled in 2011 so Electronic Arts could focus on other projects. There are different reports of the game's budget; level designer Zach Wilson reported a budget of $60 million and called Electronic Arts "merciless" with its allocation, while director Wright Bagwell described the budget as "pretty small" without specifying a figure. Production took roughly two and a half years.

The development team was estimated as having 150 people at its peak, with the studio's focus fully shifting to Dead Space 2 once Dante's Inferno was complete. While many core staff members remained, series creators Glen Schofield and Michael Condrey had left with several other staff members to found Sledgehammer Games. Bagwell took over as director after the first game's director Bret Robbins left the company, working on Dead Space 2 in parallel with his role as director for Dead Space: Extraction. Fattouh, Scott Probst, Cate Latchford, and Rich Briggs acted as producers for the game. David Woldman was senior producer. Papoutsis remained as executive producer. John Calhoun was senior designer, while Matthias Worch acted as senior level designer. The character animator was Veronique Garcia, who had done modeling and animation work for Final Fantasy: The Spirits Within, while Electronic Arts veteran Tony Gialdini was animation director.

The team's aim was to create a more polished version of Dead Space which would appeal to a larger audience; this included incorporating action elements, and making controlling Isaac easier. The shift towards action tone was described as a combination of the influence of new staff members, a wish to broaden the series' appeal, and portray Isaac's character growth. Enemies were redesigned to accommodate the action elements, though the team also worked to maintain the horror elements and atmosphere from the first game. The incorporation of cinematic set pieces were influenced by other popular games of the time including Uncharted 2: Among Thieves. The area around the Ishimura was one of the first areas built as a test for the scale of the Sprawl. When creating the cutscenes, most during chapters were done without hard cuts, instead being merged into the gameplay. The motion capture for story sequences was supervised by Latchford. The scene were first rehearsed, then shot with the actors in motion capture suits shot with over two hundred cameras to create a composite view of characters during cutscenes.

Gameplay elements were included based on positive feedback from the first game. The main additions were destructible environments, included to offer gameplay variety and increase the realism, and launching objects at enemies, which allowed for players to fight when out of ammunition. The team wanted each level to feel unique for players, with Papoutis citing the level in a Unitologist Church as an example of "[keeping] players on their toes". The Ishimura level had little to no enemy encounters to reinforce the tension and the game's themes, with art director Ian Milham successfully pushing back against requests to add in more enemy encounters. Some of the puzzle and level designs were toned down for the final release after negative tester feedback about their difficulty. An early suggested concept was having Isaac voice suggestions if players were struggling with a puzzle. The diegetic UI design was carried over from the original game, with some elements during the opening section tying into the portrayal of Isaac's mental state.

Multiplayer was one of the more requested additions by series fans, which was considered by the development team as they planned out Dead Space 2. According to artist Ben Wanat, the incorporation of multiplayer was also done to appease Electronic Arts, who had been pushing for a multiplayer component since the first game to broaden the series market appeal. As a compromise, the team included it as an entirely separate gameplay mode. Probst acted as supervisor for the multiplayer section of the game. The team started out with asking what would make the multiplayer stand out, choosing a scenario pitting a human team against Necromorphs. The team referenced at other series which incorporated multiplayer around a single-player focused campaign, including the Call of Duty, BioShock and Uncharted series, and Left 4 Dead. The team chose playable Necromorph types based on their design, usability, and potential for players to enjoy. Story elements from the single-player campaign were incorporated into multiplayer, but not in a way that would spoil the story campaign for players who tried the multiplayer first.

Scenario
Chuck Beaver acted as story producer, as he did for the rest of the series. Beaver and Wanat together coordinated the lore with documentation to ensure continuity. The script was handled by television writer Jeremy Bernstein, brought on board through a chance conversation with one of the game's producers at a Game Developer Conference. Antony Johnston, who worked on Dead Space and its expanded media, jokingly described Bernstein as having "basically hustled the job out from under [him]". While Bernstein drafted the script, the story creation was a collaborative effort between Bernstein and multiple senior designers. As part of the wish to evolve the storytelling of the series, Isaac was changed from a silent protagonist as he was in the first game to one with a voice. The decision was also driven by the wish for Isaac to be a sympathetic character, to be able to interact properly with the game's larger cast, and to show more independence and agency compared to the original where he was generally following orders. Giving Isaac a voice was one of the first decisions made by the developers. One of the concerns was balancing Isaac's dialogue so it would not drag or seem out of place. Speaking about Isaac's portrayal across the series, Papoutsis said Isaac turned a corner from being a victim of events to having a motivation due to his conflict with Tiedmann. Chapter Twelve was intended to have a lighter tone after the previous darker events through the banter between Isaac and Ellie.

Papoutis described Isaac's character following Dead Space as "broken", reflected in his actions and state of mind during Dead Space 2. Isaac's mental illness was portrayed in-game through classic nursery rhymes, with a late-game scene involving Isaac's using a needle probe in his eye taking direct influence from the saying "Cross my heart and hope to die, stick a needle in my eye." As part of the exploration of Isaac's mental state, Nicole was included as an illusory character, reflecting both Isaac's specific trauma and reference real-life situations where people lost loved ones. The questioning of Isaac's sanity and perceptions was reinforced using the hallucinations he experiences during the Ishimura level. A larger supporting cast was another early decision, with the large number of female characters described as a naturally-emerging decision for the world design. Ellie was described by a staff member as the "female interest" for Isaac. During early production Ellie was known as Rose. Stross was created to communicate backstory to Isaac, acting as a possible vision of Isaac's future mental state, additionally playing into the eye theme through his obsessions. During the script drafting, an extensive subplot surrounding Tiedmann was planned; as an unwilling participant in the Marker project, he would have suffered from Marker-driven hallucinations involving survivors revealed to be long dead, giving his arc a tragic conclusion. This was seen as too sympathetic and left the game without a central villain, so he was rewritten as a "more conventional bad guy".

The team also expanded backstory elements that had only been roughly thought through to support the main narrative of Dead Space, turning drafted backstory elements into a cohesive overarching narrative. As with the original, standard cutscenes were supplemented with audio calls between Isaac and other characters, and audio and text logs found during exploration. The opening, which showed Delille being turned into a Necromorph in front of Isaac, was created to set the tone for the game. For the scene, a model for Denille was built to be as anatomically correct as possible, with the death and transformations being a complex process. Denille's face was modelled on Briggs. Unitology remained a core part of the story, with Beaver describing its portrayal as both a general commentary on how organised religion and cults could cause harm, and adding detail for players about its role in the game's universe. Another element given focus was the secret conflict between EarthGov and Unitology, which had only been hinted at in earlier parts of the series and became a main focus for the story design of the Sprawl. The team also continued to deny the religion was an explicit critique of Scientology, with the similar terms and structure shown in Dead Space 2 along with other media being coincidental.

Art design
Milham returned from the first game as art director, Wanat as production designer, and Alex Muscat came on board as lead environmental artist. As one of the senior leads remaining from the first game, Milham's task was to ensure artistic continuity. During the planning phase, Milham planned out the chapters with different color themes based on the story and atmosphere; an example was the opening level, which used cold blue and white lights due to its hospital setting. Whenever possible, inspiration for the visuals and scenes was drawn from real life rather than using films or other games. Milham wanted to stay away from traditional science fiction imagery, with the first year of development being dedicated to creating concept artwork for the Sprawl. When discussing the lighting, Milham said he wanted to avoid the blue filter used by James Cameron for Terminator 2: Judgment Day or the "green and black sliminess" of Alien, instead using darker lighting styles and color use associated with the work of David Fincher.

Using both player feedback and the new setting, the Sprawl was designed around the concept of an organically-growing city with multiple residents and associated businesses, alongside different utilitarian and leisure spaces. The Sprawl designs drew inspiration from interior design of the 1970s and 80s, with part of the horror based around the Necromorphs' destructive presence. The Unitology cathedral drew from the team's experience creating Gothic-style architecture for the Ishimura interior, additionally visually communicating the religion's beliefs and symbolism including the Marker symbol, modelled on a DNA strand. The EarthGov areas and Marker experiment zone contrasted against other areas with sleek and "cold" designs, emulating other popular science fiction such as 2001: A Space Odyssey and the work of Chris Cunningham. The level set within the Ishimura was  both an incorporation for returning players, and a level that could be built using older assets and a low budget allocation as much of the art team were new hires unfamiliar with the game and technology.

Character design was led by Garcia. Isaac's default RIG suit was designed to appear strong without taking away from Isaac's non-military background, with strengthening ribs as a motif and component. The Advanced RIG suit followed the opposite design path, intending to evoke Isaac's growing combat ability against the Necromorphs. Several suit designs reinforced the general aesthetic, but some were designed to have a vintage look, including a suit based on a historic diving suit. The RIG helmet was redesigned slightly so it could realistically fold away to reveal his face for cutscenes and dialogue, while retaining its established shape. His weapons were all designed to have distinctive yet simple shapes, emulating the design of modern tools.

The new Necromorph designs, including child Necromorphs, were influenced by the new Sprawl environment. Several Necromorph designs also served a mechanical purpose, allowing the developers to rely less on closed-room combat scenarios to alter the pacing of the game. As with the first game, their design was intended to be unsettling and unnatural, being frightening without being too conventionally monstrous. The trauma created by the transformations were selected to play into common fears people had around something happening to a body part, alongside fractures and bodily warping being more realistic and disturbing than something like wounds from a laser gun. Alongside returning Necromorphs designs, new larger versions were designed, with the challenge being to realistically portray these larger Necromorphs as amalgamations of the normally human-sized monsters. The disturbing behavior of the Necrmorphs and associated violence was something the team paid attention to so it would be graphic and disturbing without becoming gratuitous.

Audio

Sound design

The chief audio director for Dead Space 2 was Andrew Boyd. The original game has been lauded for its sound design, with the team wanting to improve for Dead Space 2. Boyd highlighted the importance of sound design in evoking horror, citing a section where Isaac travels through a residential area and hears noises from inside the sealed apartments. Nicole's visions had different approaches in sound design; hostile visions had sharp and uncomfortable sounds, while her friendly visions used comforting sounds. To distinguish her from the other environmental elements, Nicole was given dedicated sound effects which would play when approaching an encounter with her. The Necromorph sounds were based on distorted real-world sounds, with one example being a staff member who dry heaved to the point where he was actually sick. As with the original, the space vacuum used a muffled sound environment, focusing on sounds from within Isaac's suit including his heartbeat and grunts. The Ishimura level was able to recycle sound effects and music from the first game, used by Boyd to reinforce the tension of the area.

American actor Gunner Wright voiced and provided motion capture for Isaac, describing the role as interesting due to Isaac's everyman portrayal. During the table reading phase, Wright was given some advice by Beaver about his portrayal, basing it on the character of John McClane as a man forced into a desperate situation. After an initial test recording, it took nine months to get Wright's likeness into the system before more scenes could be filmed. Ellie was portrayed by Sonita Henry, who originally auditioned for a side character called the Therapist, but was recast and remained unaware until the first script reading. Henry described Ellie as a complex person who was unwilling to trust in others after the events she experienced. Dead Space 2 was both her first role in a video game, and her first time using motion capture, while Henry found odd at first due to the lack of visible props and the need to imagine the scenes she was filming with Wright. Stross was voiced by Curt Cornelius. The cast also included Tanya Clarke as Nicole, Lester Purry as Tiedemann, and Tahyna Tozzi as Daina. Voice work was recorded during motion capture sessions whenever possible.

Music

Jason Graves returned as composer from the first game, being involved from an early stage. He drew inspiration from classical music from the first half of the 20th century, citing Krzysztof Penderecki's Threnody to the Victims of Hiroshima as a point of comparison for the game's focus on strings. Isaac's leitmotif uses the note order D-E-A-D—spelling the word 'DEAD'—and appears throughout the score. Other recurring musical elements include newly-written themes for Isaac and the story-centric Marker artifact, with Nicole's theme returning from Dead Space. The game's main theme, "Lacrimosa", was performed by a string quartet. The music cues in-game were dictated by "fear markers", software flags tripped by the player which altered the music's flow and volume.

Release
Rumors of Dead Space 2 emerged in 2009, with a report from Variety indicating both the series's continuation as a trilogy and a feature film adaptation. The game was officially announced on December 7, 2009. During 2010, footage was shown at E3, and a demo version was showcased at Gamescom. The marketing budget was reportedly a further $60 million. As part of the marketing, Electronic Arts partnered with the design group Renegade Effects to create a real-life version of Isaac's RIG suit, which had become an icon of the series. The suit was featured at the 2010 San Diego Comic-Con. A notable and controversial campaign was a video series using the slogan "Your Mom Hates Dead Space 2"; a group of women were selected based on their conservative attitudes and recorded seeing some of the more violent parts of the game. A Dead Space-themed armor set could be unlocked in Dragon Age II with a code released with Dead Space 2. A PS3-exclusive closed multiplayer beta began on September 23, 2010. Papoutsis said the game was in its "final stretch" of development by October 2010. A demo was released exclusively for the PlayStation 3 and Xbox 360 on December 8, 2010.

Dead Space 2 released worldwide in January 2011; it released in North America on January 25, in Australia on January 27, and in Europe on January 28. In German, the game was delayed into February as the country's rating laws required the friendly fire option be removed from the game, though otherwise its content was unchanged. In response to a petition due to a disabled player being unable to remap the PC controls, Visceral Games developed a patch allowing full button remapping on the platform. Alongside the standard edition, a limited Collector's Edition was released that included a soundtrack CD, a Unitology-themed armor and weapon set, and concept art lithographis. The PC and 360 versions included a replica of the game's standard plasma cutter weapon. A port of Dead Space: Extraction was bundled with both the PS3 Collector's Edition and standard first prints for free, and also released parallel to Dead Space 2 on PlayStation Network. The PS3 version also came with a version of the Rivet Gun from Extraction as an in-game weapon. Having a save file of the first Dead Space unlocked the original plasma cutter as an early bonus weapon.

On January 27, three paid DLC packs were released dubbed "Hazard," "Martial Law" and "Supernova", each containing a themed armour and weapon set. On February 11, a multiplayer contest was held where players fought against a team made up of staff from the game, with winning earning players new armor sets. The DLC expansion Dead Space 2: Severed was announced on January 25. Producer Scott Probst described the DLC as being designed as having a greater action focus playing into Weller's profession as a security guard. The DLC is exclusive to the console versions, though Electronic Arts gave no detailed explanation for the lack of a PC release. It was released March 1 in North America and Europe, and March 2 in Australia. A final DLC release came on May 24 with the free addition of multiplayer maps based on areas of the main game.

Related media

Based on the success of the original game, Electronic Arts decided to expand the series into a "trans-media franchise", with pieces of the series lore distributed through means outside the main series including spin-off titles, movies, and printed media. Multiple titles were created to help promote the release Dead Space 2. While the expanded media was handled by different people, Beaver and Wanat acted as supervisors to ensure continuity. Several pieces of the media surrounding Dead Space 2 was written by Johnston, commenting afterwards that it would likely be his final work on the series.

The spin-off action puzzle game Dead Space Ignition, which followed Delille's actions during the initial Necromorph outbreak, was co-developed with Visceral by Sumo Digital and released on October 12, 2010, for PS3 and October 13 for 360. Completing Ignition unlocked bonuses on the console versions of Dead Space 2. A mobile spin-off developed by IronMonkey Studios, again set during the initial outbreak and using gameplay similar to the main series, was released in 2011 for iOS and Android.

A prequel novel Dead Space: Martyr, written by B. K. Evenson, was released on July 20, 2010, by Tor Books; it focuses on the original Black Marker and the role of Michael Altman in Unitology's foundation. The animated movie Dead Space: Aftermath, produced by many of the same team as Dead Space: Downfall in 2008, was released direct-to-video on the same day as the North American release of Dead Space 2; the storyline follows EarthGov's investigation of the Ishimura and accounts of different survivors from an investigation team. Stross was introduced in this movie, with Cornelius voicing the character in both Aftermath and Dead Space 2.

A graphic novel, Dead Space: Salvage, was released on November 24, 2010, by IDW Publishing. Set between the two mainline games, it shows events after a group of salvagers called the Magpies find the wreck of the Ishimura. Salvage was illustrated by Christopher Shy of Studio Ronin. It took roughly a year to finalise the details of his work on the project, and during that time he created sketches and paintings to determine its style. As a fan of the original game, he made notes as to how he could translate his feelings about it into art. At Studio Ronin he created ship models and photographed them using similar lighting to Dead Space, then created the first concept pieces based on those and Johnston's script. As the graphic novel was a spin-off without direct continuity with other titles, he was allowed creative freedom with his designs and artwork. He designed the characters as having a punk rock style with their clothes, with a lived-in appearance that would contrast with the game characters. He also wanted to convincingly portray the insanity of those who worshipped or were enthralled by the Marker. He later described his character designs as having an outlandish aesthetic compared to his later work on the series. Johnston described his work on the story of Salvage as exciting due to it covering an entirely new aspect of the Dead Space universe.

Reception

PS3 and PC versions of Dead Space 2 met with a "generally favorable" reception according to review aggregator website Metacritic while Xbox 360 version was the highest ranked with a score of 90 out of 100 based on 83 reviews with a "universal acclaim". The PS3 version scored 89 based on 78 reviews, while the PC version scored 87 based on 28 reviews. Reviews gave general praise to the game for its atmosphere and design, with several critics calling it an improvement over the original. Both Thierry Nguyen  of 1Up.com and Carolyn Petit of GameSpot noted the PS3 version as a more attractive version due to the inclusion of Extraction in early copies. The control scheme for the PC version was positively noted by Petit as providing an easier experience for aiming.

Nguyen gave minimal comment towards the story aside from noting its change in pacing and incorporating of cinematic setpieces as part of a general shift towards action. Andy Robinson, writing for Computer and Video Games, praised the more cinematic delivery. Gaming magazine Edge felt that Isaac's new voiced role improved him as a protagonist, praising his interactions with the cast and reactions to the environment. Simon Parkin of Eurogamer enjoyed Isaac's voiced role, and noted the use of Nicole to both scare the player and explore Isaac's mind. Game Informers Andrew Reiner cited Isaac's mental state as the main strength of the game's plot, Petit praised the combined focus on Isaac and the Necromorph threat, citing the opening and ending sections as the strongest parts of the game. GameTrailers noted a lack of development in the cast and found the visions of Nicole wore thin over time, calling the overall plot forgettable until the final section of the game. IGNs Greg Miller praised the more personal focus of the narrative also noting the rest of the cast as enjoyable but found the mission structure lacking and central plot surrounding the Marker fairly weak. Francesca Reyes, writing for the United States edition of Official Xbox Magazine, enjoyed the story's presentation and Isaac's interactions with the cast, though she felt the later narrative and the handling of Nicole's appearances bogged down the experience. PC Gamers Dan Stapleton felt the story delivery had improved considerably over the first game, Jeremy Jastrzab of PALGN called the story "remarkably well told" and highlighted the use of audio and text logs to flesh out the Sprawl. The focus on Isaac's mental state was frequently cited as the strongest part of the narrative.

Parkin called the sound design "second to none", and Reiner gave praise to both the sound design and the soundtrack for emphasising the horror atmosphere. Petit cited the sound design as a key part of the experience. Speaking of the audio design, GameTrailers praised its implementation and design, but calling the soundtrack "droning". Miller found himself becoming so immersed in the world because of the sound design that he was having trouble distinguishing real-world sounds from those in Dead Space 2. Jastrzab felt that both the sound and music of Dead Space 2 should be placed among the best in games overall.

Nguyen positively noted the level design and visual spectacle of the set piece scenarios. Edge referred to the visual design as "nothing short of brilliant" and praised the use of lighting when communicating the horror elements, Parkin enjoyed the greater variety of environments alongside the design of the set piece sequences. Reiner felt the new setting of the Sprawl evoked more unsettling horror than the abandoned ship of the original game, additionally praising the graphical detail. Petit praised the diversity of environments, saying the altered pacing and environment helped give the game its own identity. Reyes gave general praise to the visual design of the Sprawl, while Gametrailers lauded the increase in graphical quality and environmental variety between the first and second games. Stapleton positively noted the visual variety of levels, and Jastrzab felt the graphics had improved slightly over the first game and the visual design was utilized better.

Nguyen enjoyed the improvements to Isaac's movement and found the gameplay solid, but faulted the later sections for repetitive combat scenarios and having generic mission objectives. Robinson praised the handling of action without diluting the survival horror elements, and positively noted the incorporation of dedicated cinematic sequences with their own mechanics. Edge positively cited the introductions of new enemies and weapons as not disrupting the established gameplay balance, but faulted the game's pace during later sections relying on waves of enemies. Parkin enjoyed the increased pace of Isaac's character growth and the tension created by the aggressive enemy types, with his main complaint being the number of quick time events used during some sections. Reiner felt some of the spawn points were unfair due to Isaac's lack of defences against attacks from behind, but otherwise praised the gameplay tension and variety of weapons and enemies. Petit enjoyed the gameplay, but found the single-player structure predictable after a time, impacting both gameplay and story. GameTrailers enjoyed the gameplay, positively noting improvements to its design and balance over the first game, but noting a lack of enemy variety and reused encounters and scare tactics. Miller lauded the gameplay as an improvement over the original in its control and speed, additionally praising the lack of backtracking and unlockable extras. Reyes called the gameplay the real star of the experience, praising its improved pacing and mechanics while noting Necromorph spawn points growing predictable over time. Stapleton generally called the gameplay and improvement over the original despite some remaining frustrations with the lack of autosaving, and Jastrzab noted the gameplay remained solid despite a shift towards action and cinematic sequences over horror-based gameplay. The multiplayer split opinion; some called it an enjoyable if shallow bonus to the single-player campaign, while others found it disappointing or lacking compared to the single-player campaign.

The DLC campaign Severed met with "mixed or average" reviews, with Metacritic scoring it with 65 out of 100 on PS3 and 57 out of 100 on 360. Anthony Gallegos of IGN praised the more action-focused combat related to Weller's character and profession, but missed the puzzle sections and felt a lack of connection to Weller despite enjoying the DLC as a fun if short extension of the game world. Petit praised the pace of gameplay and felt the sound and graphics were equal to the original, but disliked the recycling of environments from the main game and found the story uninteresting.

Sales
Electronic Arts reported that Dead Space 2 shipped nearly 2 million units in the first week of its release. According to Electronic Arts chief financial officer Eric Brown, the game was outselling the original at a ratio of two to one. In the United States during January, Dead Space 2 was the third best-selling game of the month behind Call of Duty: Black Ops and Just Dance 2 for the Wii. The following month it was still in the top ten best-selling games, though it fell to fifth place. In the United Kingdom, Dead Space 2 reached the top of multiplatform sales charts, with the 360 version seeing the largest share of sales, followed by the PS3 and PC. Speaking in 2017, Wilson said the game ultimately sold four million units worldwide, but the combined marketing and production budget together with fees to Microsoft and Sony meant Electronic Arts considered it a commercial failure. Milham and Wanat, speaking in a 2018 retrospective on the series, said it sold similar numbers to the first game while costing more to make.

Awards
During the 15th Annual Interactive Achievement Awards (now known as the D.I.C.E. Awards), the Academy of Interactive Arts & Sciences nominated Dead Space 2 for "Action Game of the Year". At that year's National Academy of Video Game Trade Reviewers award ceremony, the game was nominated in seven categories, winning in the "Camera Direction in a Game Engine" category. The other nominates were in the "Animation", "Control Precision", "Direction in a Game Cinema", "Lighting/Texturing", "Sound Effects" and "Use of Sound in a Franchise" categories. It was nominated in the "Audio Achievement" category at the 8th British Academy Games Awards. At the 2012 Game Developers Choice Awards, the title was nominated for in the "Best Audio" category. At that year's Game Audio Network Guild Awards, it was nominated in the "Audio of the Year" and "Best Interactive Score", and "Best Original Soundtrack Album" categories.

Sequel

Following Dead Space 2, Electronic Arts wanted to garner additional sales for the series. To this end, Visceral Games ended up incorporating a number of elements into the next game Dead Space 3 due to external pressure, including cooperative multiplayer, an increased focus on action over horror, and microtransactions. Wanat returned as director, Woldman as producer, and Graves continued as a composer. It was intended to close out the series. Releasing worldwide in 2013, Dead Space 3 released to low sales, with the team ultimately disbanding onto other projects before Visceral Games was closed down in 2017.

References

Bibliography

External links

Dead Space 2 at MobyGames

2011 video games
Asymmetrical multiplayer video games
Cancelled Wii games
Dead Space (franchise) games
Multiplayer and single-player video games
Multiplayer online games
PlayStation 3 games
Religion in science fiction
Science fiction video games
2010s horror video games
Video game sequels
Video games about zombies
Video games about mental health
Video games about religion
Video games developed in the United States
Video games scored by Jason Graves
Video games set in the 26th century
Video games set in psychiatric hospitals
Video games set on Titan (moon)
Video games using Havok
Video games with expansion packs
Visceral Games
Windows games
Xbox 360 games


The 2006 Acura Classic was a women's tennis tournament played on outdoor hard courts in San Diego in the United States which was part of Tier I of the 2006 WTA Tour. It was the 28th edition of the tournament and was held from July 29 through August 6, 2006. Second-seeded Maria Sharapova won the singles title and earned $196,900 first-prize money as well as 300 ranking points.

Finals

Singles

 Maria Sharapova defeated  Kim Clijsters, 7–5, 7–5
It was Sharapova's 2nd title of the year and the 12th of her career.

Doubles

 Cara Black /  Rennae Stubbs defeated  Anna-Lena Grönefeld /  Meghann Shaughnessy, 6–2, 6–2
It was Black's 1st title of the year and the 36th of her career. It was Stubbs' 2nd title of the year and the 54th of her career.

External links

 ITF tournament edition details
 Tournament draws

Acura Classic
Acura Classic
Southern California Open
Acura Classic
Acura Classic
Acura Classic
Acura Classic


The women's individual pursuit was one of the 4 women's events at the 1995 UCI Track Cycling World Championships, held in Bogotá, Colombia.

Quarter-finals

Semi-finals

Final

Final standings

References

Women's individual pursuit
UCI Track Cycling World Championships – Women's individual pursuit
1990s in women's track cycling
1995 in track cycling
1995 in women's cycle racing


Haden Drysys International played a major part in the development of the paint finishing industry. It was one of the world’s leading high quality paint finishing systems suppliers. Originally based in Birmingham, England the Company moved to then based in Auburn Hills in the United States in the 1990s. As a tier one supplier, it completed projects in over 60 countries. In 2000, the Company reported sales of $300,000,000. It posted its largest ever sales of $573,516,911 in 1995, including a $220,000,000 complete paintshop at Land Rover in Solihull, England. This huge job had great significance to the automotive sector in Britain and this plant still produces the third most vehicles of all plants in the British motor industry.

Early days
Haden has a long, colourful history. It began trading in 1816 in Birmingham, England. It provided paint finishing equipment across the United States. It was one of the first Western businesses to move into China after the closed door policy ended, completing its first project in 1980 and then several more projects beginning in 1983, covering Jinan, Shiyan and Changchun. It later did work in more prosperous areas such as Shanghai, Nanjing and Tianjin. It played a huge part in the technology transfer from Western Automotive suppliers to Chinese domestic firms. In the 1980s it was also an early mover into Indian and Australasian markets.

Pioneering research and development
Haden developed paint finishing systems, metal finishing systems, industrial process equipment and environmental systems. It covered many industries including automotive, aerospace, general industrial and chemical manufacturing.

Its products were developed through a bespoke research and development programme with high attention to reliability and maintainability. It has numerous patents for new developments such as spray booths, special apparatus and method for applying material to articles, separation systems  and sludge removal systems  and made numerous technical industry firsts. It pioneered development of the highly energy efficient powder-based paint systems now common worldwide. Other innovations followed with the use of high solids paints and waterborne paints.

Acquisition
Haden International Group including Haden Drysys International was acquired by Palladium Equity Partners on August 16, 2001. Haden International Group had previously been a subsidiary of Haden MacLellan Holdings plc. Based in the United Kingdom, Haden MacLellan Holdings plc had over 185 years of heritage in design, engineering and manufacture. They chose to sell off this part of their business to concentrate on their core fastener business.

Demise
Haden Drysys International was liquidated in 2005 and Haden International Group was liquidated the following year in 2006  marking the end of a pioneering legacy in the Surface finishing industry.

References

Chemical companies established in 1816
Chemical companies disestablished in 2005
British companies established in 1816
Chemical companies of England
Chemical companies of the United States
2005 disestablishments in Michigan
1816 establishments in England


Collinsia bartsiifolia is a species of flowering plant in the plantain family known by the common name white blue-eyed Mary.

It is endemic to California, where it is widespread in the mountain ranges and deserts and found in several habitat types.

Description
Collinsia bartsiifolia is an annual herb producing a slender, hairy stem up to about 35 centimeters long. It is lined with a few thick, narrowly oblong leaves with edges slightly rolled under.

The inflorescence is an interrupted series of whorls of flowers. The flower is white to lavender to purple, sometimes bicolored, pouched and folded, with two toothed upper lobes and three notched lower lobes.

External links
Jepson Manual Treatment of Collinsia bartsiifolia
USDA Plants Profile for Collinsia bartsiifolia
Collinsia bartsiifolia — U.C. Photo gallery

bartsiifolia
Endemic flora of California
Flora of the California desert regions
Flora of the Klamath Mountains
Flora of the Sierra Nevada (United States)
Natural history of the California chaparral and woodlands
Natural history of the California Coast Ranges
Natural history of the Mojave Desert
Natural history of the San Francisco Bay Area
Plants described in 1846
Flora without expected TNC conservation status


Derek Murray (born 26 November 1960 in Dunfermline) is a Scottish retired footballer who played left-back. Murray began his career in the early 1980s with Dundee United, making sixteen appearances over a four-year period before joining Motherwell. More of a regular at Fir Park, Murray appeared in nearly 100 league matches before joining Raith Rovers in 1988, making over 80 league appearances before retiring in 1991. Murray moved back to Oakley United, who he had played for at youth level, as assistant manager following the end of his playing career.

External links

 https://www.arabarchive.co.uk/player.php?id=40

1960 births
Footballers from Dunfermline
Living people
Scottish men's footballers
Scottish Football League players
Dundee United F.C. players
Motherwell F.C. players
Raith Rovers F.C. players
Men's association football fullbacks


Daniel Griffiths (20 June 1857 – 29 October 1936) was a Welsh international rugby union forward who played club rugby for Llanelli and international rugby for Wales. Morgan was a collier by profession.

Rugby career
Griffiths came to note as a rugby player when playing for club team Llanelli. In 1888 Griffiths twice faced the 1888 touring New Zealand Natives, once with Llanelli and then three days later with Wales. The Llanelli game against the Māoris was the first time a touring Southern Hemisphere team had played a rugby match in Wales, and a crowd of 3,000 turned up at Stradey Park to watch. Griffiths finished on the winning team, when Harry Bowen scored the only points of the game with a dropped goal from near the halfway line. On the 22 December, Griffiths won his first international cap when he was chosen to face the New Zealand team again, this time against Wales at St. Helen's in Swansea. The game began badly, when the crowd began booing their own team, mainly from Swansea and Llanelli fans who thought their clubs had been overlooked with only two Swansea players on the pitch and Griffiths being the only representative of the 'Scarlets'. Even with a hostile crowd Wales played well, using the four threequarter system, which was adopted by the team after the game, to good effect. The Welsh won by a goal and two tries to nil.

Griffiths lost his place for the next international, the opener of the 1889 Home Nations Championship to Scotland, but was back in the team for the second and final game of the tournament at home to Ireland. Four Llanelli players were brought into the team, Griffiths, Giotto Griffiths, Ned Roberts and Tom Morgan, which would later turn out to be all four's final international. Wales were led by Arthur Gould, who with nine caps was the most experienced player in both teams; but could not find the play to beat a useful Irish team. The Irish won by two tries to nil and Griffiths ended his international career with a loss.

*Not to be confused with Daniel Griffiths who is also of Welsh decent and currently plys his Rugby trade at Warrington RUFC.

International matches played
Wales (rugby union)
  1889
  1888

Bibliography

References

1857 births
1936 deaths
Llanelli RFC players
Rugby union forwards
Rugby union players from Carmarthenshire
Wales international rugby union players
Welsh rugby union players


This is a list of players who have played at least one game for the ASK Rīga professional basketball club, of the LBL, BBL, and other European leagues. This list also includes players for the former club BK Rīga and historical ASK team players.

A
Milutin Aleksić,
Oļģerts Altbergs,
Martynas Andrukaitis,
Marko Antonijevic,

B
Steponas Babrauskas,
Viesturs Baldzēns,
Dairis Bertāns,
Dāvis Bertāns,
Kaspars Bērziņš,
Visvaldis Bērziņš,
Rodney Billups,
Torraye Braggs,
A. J. Bramlett,
Corey L. Brewer,
Dwayne Broyle,
Sandis Buškevics,

C
Sean Colson,
Agnis Čavars,
Markin Chandler,

D
Vytautas Danelius,

E
Visvaldis Eglītis,
Raimonds Elbakjans,

F
Rolands Freimanis,

G
Raitis Grafs,
Ainārs Gulbis,
Alvils Gulbis,

H
Oļģerts Hehts,
Uvis Helmanis,

J
Gatis Jahovičs,
Leons Jankovskis,

K
Teobalds Kalherts,
Ernests Kalve,
Kaspars Kambala,
Raimonds Karnītis,
Alfrēds Krauklis,
Jānis Krūmiņš,
Aivar Kuusmaa

L
Māris Ļaksa,
Jānis Laksa,
Aivars Leončiks,
Darius Lukminas,

M
Ricardo Marsh,
Andrius Mazutis,
Roberts Mednis,
Kristaps Mediss,
Ādolfs Melgailis,
Juris Mērksons,
Salvis Mētra,
Curtis Millage,
Gundars Muižnieks,
Valdis Muižnieks,

N
Mārtinš Neimanis,

O
Atis Ozols,
Troy Ostler,

P
Juris Patmalnieks,
Smiljan Pavič,
Krists Pīternieks,
Jānis Pozņaks,

R
Miervaldis Ramāns,
Marius Runkauskas,

S
Aerick Sanders,
Andrejs Šeļakovs,
Artūrs Šēnhofs,
Roberts Štelmahers,
Bruno Šundov,

T
Jānis Timma,

V
Maigonis Valdmanis,
Sandis Valters,
Arnis Vecvagars,
Ivars Vērītis,
Uģis Viļums,
Aigars Vītols,

Z
Gatis Zonbergs,

References
ASK Riga rosters

ASK Riga


Canada–Haiti relations are relations between Canada and the Republic of Haiti. They are the only independent French-speaking countries in the Americas. During the unsettled period from 1957 to 1990, Canada received many Haitian refugees, who now form a significant minority in Quebec. Canada participated in various international interventions in Haiti between 1994 and 2004, and continues to provide substantial aid to Haiti. Both nations are members of the Organisation internationale de la Francophonie, Organization of American States and the United Nations.

Historical background

Haiti is in the west of the island of Hispaniola. In 1797 Toussaint Louverture led a successful revolt against the French and made Haiti the first independent Caribbean nation, although government was unsettled until 1915, when the United States occupied the island. The United States left the island in 1934, returning it to a form of democracy.

Canada is a member of the Francophonie, or community of French-speaking countries, as is Haiti. Canada plays an active role in peacekeeping (or peacemaking) around the world. Quebec is an independent member of La Francophonie, with Haiti being the largest recipient of aid assistance from the province. Further, a large majority of the NGOs working in Haiti are Quebec organizations.

Canada and Haiti only officially established diplomatic relations in 1954, when Edward Ritchie Bellemare was appointed chargé d'affaires of the Canadian Embassy in Haiti. From 1957 to 1986, the Duvalier family reigned as dictators. They created the private army and terrorist death squads known as Tonton Macoutes. Many Haitians fled to exile in the United States and Canada, especially French-speaking Quebec.  In the 1991 Canadian census, nearly 44,000 people described themselves as being of Haitian origin. By 2006, Canada had over 100,000 residents of Haitian origin.

Canadian operations in Haiti
A list of Canadian operations in Haiti follows:
 Operation HORATIO World Food Programme, September 2008
 Haiti 2004-4 December 2004
 Haiti 2004-3 October 2004
 Haiti 2004-2 October 2004
 Haiti 2004-1 September 2004
 Operation HAMLET United Nations Stabilization Mission in Haiti (MINUSTAH), August 2004–present
 Operation HALO MINUSTAH, March–August 2004
 Operation HALO Multinational Interim Force, February–July 2004
 Haiti 1999 December 1999
 Operation STANDARD June 1996 – July 1997
 Operation DIALOGUE January–December 1994
 Operation CAULDRON September 1993 – June 1996
 Operation FORWARD ACTION October 1993 – September 1994
 Haiti 1989 January–October 1989
 Operation BANDIT January–February 1988
 Haiti 1963 May 1963

1993 international intervention

Following the overthrow of the Duvalier regime, Haiti went through a period of political and economic turmoil. UN sponsored forces repeatedly intervened in an attempt to stabilize the situation. The Canadian government refused to recognize the 1988 Haitian national elections, which were marred by violence that left at least 34 people dead, and stated they were thinking of cutting $15 million in development aid.

Though government bilateral aid had plunged, Haiti was still seeing aid from Canada in the form of NGO bilateral assistance. For a brief 10-month period beginning in December 1990, Canada reinstated significant aid efforts in light of Jean-Bertrand Aristide being democratically elected as Prime Minister and promising to protect the fundamental human rights of his people. The aid was again revoked when Aristide fled the country after a coup d'état the next year. Canada chose to even discontinue NGO bilateral aid after Aristide fled, leaving only food aid and basic need assistance able to continue in the Caribbean nation. Political chaos ensued. In June 1993, Prime Minister Brian Mulroney of Canada told President Bill Clinton that Canada was ready to send troops to enforce a blockade around Haiti. Canada's decision to intervene in Haiti in this time period was largely propelled by the demands and concerns of the Haitian-Francophonie population living in Quebec at the time. Later that year, Canada assisted in the United Nations Mission in Haiti, a peacekeeping operation carried out by the United Nations between September 1993 and June 1996.

The Force Commander from March to June 1996, Brigadier-General J.R.P. Daigle was Canadian. Daigle continued as commander of the United Nations Support Mission in Haiti (1996–1997), and the Canadian Général Robin Gagnon led the subsequent United Nations Transition Mission in Haiti (1997). Canada also provided the Police Commissioners between October 1993 and February 1996, and contributed police officers to the United Nations Civilian Police Mission in Haiti (1997–2000).

In 2000, with Haiti more stable, Jean-Bertrand Aristide was again elected, although his second term of office was marked by accusations of corruption.

2004 international intervention

In February 2004, the presidency of Jean-Bertrand Aristide came to an end amid a rebellion. The Multinational Interim Force (MIF) was authorized by the UN Security Council to deploy in Haiti immediately to keep the peace. Of the 2,700 troops initially deployed, Canada contributed 125. By April, the Canadian contingent led by Lt.-Col. Jim Davis had risen to 500.

Recent reports detailing sexual abuse against Haitian civilians by UN peacekeepers following the 2004 intervention have implicated the MIF. Allegations have ranged from the use of sexual harassment by peacekeepers to coerce the population in the midst of the political unrest, to outright abuse and exploitation during the period of political turmoil.

Despite Canada’s participation in the post-rebellion peacekeeping mission, Haiti’s illegal prostitution industry grew. During this period, there were many cases of MIF-associated peacekeepers exploiting their newfound authority in the region to systematically sexually abuse Haitians. In February 2005, three Pakistani peacekeepers were accused, and later court martialed, for the sexual abuse of a young girl.

The United Nations Stabilization Mission in Haiti was established later in 2004 as a successor to the MIF. Since then, Canadian contributions have been limited to a 100 police officers and a small number of liaison officers. In June 2005, the Canadian government warned Canadians to avoid visiting Haiti due to the increasingly deteriorating security situation.

The United Nations Stabilization Mission in Haiti (MINUSTAH) had a total of 14 allegations of sexual exploitation and abuse (SEA) against MINUSTAH personnel in 2014. An inquiry conducted by the United Nations in 2015 found that the actual number of SEA interactions by MINUSTAH personnel was 231.

Beginning in roughly 2004, Canada's aid program implemented what is known as a whole-of-government approach that aimed to develop and support the transitional government. More money was being spent on state services such as public security and election processes.
In 2006 Canada assisted in international efforts to help Haiti complete its first full electoral cycle since its constitution entered into force in 1987. The Government of Canada through the Canadian International Development Agency contributed nearly $40 million for the electoral process, providing observers and technical assistance. The Governor General of Canada, Michaelle Jean (herself of Haitian origin) attended the inauguration of President Rene Preval on May 14, 2006, as the Canadian representative.

In July 2007, Canadian Prime Minister Stephen Harper visited Haiti, including a visit to a Canadian-funded hospital in the crime-ridden Cite Soleil slum.

Current Situation

Haiti is considered a fragile state under the Canadian definition of the concept, as the government does not provide basic services to its citizens. CIDA has created a development plan for nations it deems as fragile states, specifically Haiti, Afghanistan, Sudan formerly unified, and the West Bank and Gaza Strip called the New Deal. The New Deal was implemented to provide further support in helping the fragile states reach the MDGs for 2015. The New Deal includes goals such as security, jobs, revenue, and justice. Despite this, there is much controversy over how Canada's aid money is being spent and who it is being handed over to. Though CIDA has outlined good governance as one of its priorities, NGOs have been providing over 80% of the basic services in Haiti, thus receiving a large part of the Canadian aid money. By avoiding interaction with the Haitian government, Canada has promoted a parallel system of services in lieu of the state providing these services.

A large number of Canadian development workers are present in Haiti, including hundreds of missionaries working primarily in the health and education sectors.

As of 2008, Canada had committed $555 million to Haiti over five years. Haiti became the top recipient of Canadian development aid in 2009, with Afghanistan falling into the second recipient position. $334 million total dollars in aid money was given to Haiti in 2009. In February 2009, the Canadian government announced it will focus foreign aid on 20 countries or regions where it hopes to have a bigger impact, including Haiti. In addition to official aid, Haitian immigrants in Canada sent about $248 million of remittances to their families in Haiti in 2006. After the destructive earthquake that Haiti experienced in 2010, $221 million in citizen and private donations was raised for Haiti. CIDA then matched that amount in contributions. In January 2013, Canada's Minister of International Cooperation, Julian Fantino, announced that the government would be reviewing the aid being remitted to Haiti, citing concerns regarding the results of the use of the funds. Some of these concerns were expressed by Haitian Prime Minister Laurent Lamothe, who also suggested that the Canadian government give more say and more aid to the Haitian government directly.

There remains a security warning from the government of Canada to exercise caution when travelling to the country, however there is not presently an advisory in effect for Haiti.

In January 2020, Canadian Foreign Minister, François-Philippe Champagne, issued a statement in remembrance for the 10th anniversary of Haiti's earthquake.

Resident diplomatic missions
 Canada has an embassy in Port-au-Prince.
 Haiti has an embassy in Ottawa and a consulate-general in Montreal.

See also

 Haitian Canadians
 List of Haitian Canadians

References

Haiti
Bilateral relations of Haiti


Collinsia callosa is a species of flowering plant in the plantain family known by the common name desert mountain blue-eyed Mary. It is endemic to California, where it grows in the mountains of the southernmost Sierra Nevada, the Transverse Ranges, and the mountains of the Mojave Desert region. It grows in desert scrub, chaparral, and woodland habitat on the mountain slopes.

This is an annual herb producing a fleshy, somewhat thick stem up to about 25 centimeters tall. The plant is overall green to red in color. The leaves are oblong and thick, their edges slightly rolled under. They are oppositely arranged and some pairs clasp the stem where they meet.

The inflorescence is an interrupted series of nodes bearing flowers; one to three flowers emerge on erect pedicels from the leaf axils. Each flower has two upper lobes and three lower lobes and is deep purple-blue in color, often with some white.

External links
Jepson Manual Treatment
USDA Plants Profile
Photo gallery

callosa
Endemic flora of California
Flora of the Sierra Nevada (United States)
Natural history of the California chaparral and woodlands
Natural history of the Mojave Desert
Natural history of the Transverse Ranges
Plants described in 1899
Taxa named by Samuel Bonsall Parish
Flora without expected TNC conservation status


"Être une femme" (English: "Being a Woman") is the first single from the third French album, Luminescence by Anggun. This single was released in late 2004, earlier than the album which was released in 2005. This single peaked at #16 at France Singles Top 100, making her second Top 20 hits in France. According to Bureau Export (french-music.org) the song peaked at #2 in 2005 Airplay Chart and became one of the biggest hits in 2005. This single was also chosen as "The most popular single 2004" by Radio France International and has sold around 55,000 copies there. The English version of the song, "In Your Mind", was popular in Asia as well and has since remained as one of Anggun's famous songs.

Song information

"Être une femme" was composed by Jean Pierre Taïeb in 2004. The song relies heavily on Arabic music, with R&B influence. The French version of the song has a guest rap from Diam's titled "Juste Être une femme" and a solo version. The song Ye Ishq Hai, from the Indian movie, Jab We Met uses a similar tune to Anggun's song. Also, beats of both song are similar to a 1994 song "Roop Suhana Lagta Hai"  ,whose music has been given by A.R. Rahman.

Track listing
CD Single
"Être une femme" (Solo Version)
"Être une femme" (Fbcool Extended Club Mix)
"Voir l'envers" (Générique de Flat Mania)

Remixes CD Single
"Être Une Femme" (Solo Version) — 3:23
"Être Une Femme" (FbCool Extended Club Mix) — 6:08
"Être Une Femme" (FbCool Extended Dub Mix) — 5:49
"Être Une Femme" (Instrumental Version) — 3:22
"Être Une Femme" (A Capella Mix)— 3:20

Chart performance
The song debuted on France Singles Top 100 at number 23, on issue date of February 5, 2005. Weeks later, the song descended to number 26 and then 28, before the song reached a new peak position at 17. The song reached number 16 in its sixth week on the chart (issue date: March 12, 2005), making Anggun's highest charting French single since "La neige au Sahara" debut in 1997. "Être une femme" stayed on Top 40 for 12 weeks and on Top 100 for 17 weeks.

The song also debuted in Switzerland, debuted at number 73 on February 13, 2005 and reached its peak position at number 58 in its fourth week. "Être une femme" stayed on the Top 100 for 13 weeks.

Charts

References

2005 singles
Anggun songs
2005 songs
Songs written by Anggun
Heben Music singles


RTÉ News at One is a news and current affairs programme broadcast on RTÉ Radio 1. It airs Monday to Friday for 45 minutes at 1:00pm.

The programme is presented by Bryan Dobson.
An extended news bulletin takes up the first few minutes of the programme. This is then typically followed by a series of interviews. It finishes with sports news, business news, and a summary of news from around the regions.

Lengthened editions are also aired on the occasion of major breaking news stories such as general elections or referendums. As of February 2009, the programme had an audience of  335,000 listeners.

The first debate of the 2011 presidential election was broadcast on this programme.

References

External links
 Radio 1 site
 RTÉ News Site

Irish talk radio shows
RTÉ News and Current Affairs
RTÉ Radio 1 programmes


Perceval Wiburn or Wyburn (Percival) (1533?–1606?) was an English clergyman, a Marian exile, suspected nonconformist and Puritan, and polemical opponent of Robert Parsons.

Life
Born about 1533, he was admitted a scholar of St. John's College, Cambridge, on 11 November 1546, and matriculated as a pensioner in the same month. He proceeded B.A, in 1551, and on 8 April 1552 he was elected and admitted a fellow of his college.

A man of strong Protestant opinions, he sympathised with the reforming tendencies of Edward VI's government, and after the accession of Queen Mary he left England. In May 1557 he joined the English congregation at Geneva. On the accession of Elizabeth he returned to England; in 1558 he proceeded M.A., and in the same year was appointed junior dean and philosophy lecturer in his college. On 25 January 1560 he was ordained deacon by Edmund Grindal, and on 27 March 1560 he received priest's orders from Richard Davies. On 24 February 1561 he was installed a prebendary of Norwich, and on 6 April 1561 was admitted a senior fellow of St. John's College. On 23 November 1561 he was installed a canon of Westminster.

Wiburn took part, as proctor of the clergy of Rochester, in the convocation of 1563, and subscribed the revised articles. On 8 March 1564 he was instituted to the vicarage of St. Sepulchre's, Holborn. In the same year however, he was sequestered on refusing subscription, and, a married man, in order to maintain his family employed himself in husbandry. The ecclesiastical authorities connived at his keeping his prebends and at his preaching in public.

In 1566 he visited Theodore Beza at Geneva and Heinrich Bullinger at Zurich,  and to solicit assistance from the Swiss reformers. It was probably at this time that Wiburn wrote his manuscript description of the State of the Church of England. He was suspected by the English ecclesiastics of calumniating the church, an accusation which rejected, and which in a letter dated 25 Feb. 1567 he asked Bullinger to contradict.

In June 1571 Wiburn was cited for nonconformity before Archbishop Matthew Parker, together with Christopher Goodman, Thomas Lever, Thomas Sampson, and some others, and in 1573 he was examined by the council concerning his opinion on the Admonition to the Parliament, which had appeared in the preceding year  Wiburn declared that the opinions expressed in it were not lawful, but he was forbidden to preach until further orders. He was later restored to the ministry, and was preacher at Rochester.

In 1581 he was one of the divines chosen for their learning and theological attainments to dispute with the papists. In the same year he published a reply to Robert Parsons, who under the name of John Howlet had dedicated his Brief Discourse to Queen Elizabeth. Wiburn's treatise was entitled "A Checke or Reproofe of M. Howlets vntimely shreeching in her Majesties eares". He was again suspended from preaching in 1583, by Archbishop John Whitgift. He continued under suspension for at least five years.

Towards the close of his life he preached at Battersea, near London. Being disabled for a time by breaking his leg, he was assisted by Richard Sedgwick. He died about 1606 at an advanced age.

Notes

References

1533 births
1606 deaths
16th-century English Anglican priests
17th-century English Anglican priests
Alumni of St John's College, Cambridge
Marian exiles
16th-century Protestants


Marmalade Records was a short-lived British independent record label (distributed by Polydor). Started in 1966 by Swiss-resident Georgian pop impresario and ex-manager of both the Rolling Stones and  the Yardbirds, Giorgio Gomelsky, it released records by artists including Julie Driscoll with Brian Auger and The Trinity, who reached No.5 in the UK in 1968 with "This Wheel's on Fire", Blossom Toes, early recordings by Graham Gouldman, Kevin Godley and Lol Creme, who became 10cc, as well as John McLaughlin's first solo album.
Marmalade's first release, in August 1966, was a controversial single called "We Love The Pirate Stations", by five well-known musicians masquerading as The Roaring 60's. They were mainly members of the Ivy League, who later went on to release hits as The Flower Pot Men.  "We Love The Pirates" was not a hit despite extensive airplay on Radio 270, Radio Caroline and Radio London – it was a half-hearted Beach Boys pastiche at medium tempo, but still well-loved by pirate radio aficionados.

The Marmalade label ceased to exist in 1969 when it ran out of funds.

Aftermath
Driscoll again performed "This Wheel's on Fire" — without Auger — as the closing title music for BBC TV's Absolutely Fabulous comedy show between 1990 and 1996. She was partnered on that version of the Bob Dylan/Rick Danko song by Adrian Edmondson, the husband of AbFab writer and star Jennifer Saunders.

After a time managing French progressive rock band Magma, Gomelsky headed for New York City in the mid-1970s, where he co-founded Utopia Records, a label that was to have had the same alternative innovative focus as Marmalade. Gomelsky produced Magma's Live/Hhaï album for Utopia in 1975. Utopia, co-founded with Kevin Eggers, was allegedly financed by then-RCA president Ken Glancy. Gomelsky was slowly sidelined, and Eggers effectively took over the reins. Utopia later went to the wall, with Tomato Records growing out of the wreckage and taking over Utopia's back catalogue. Tomato re-released Live/Hhaï in 1978. Gomelsky's production appeared again, in versions of varying lengths, on the French 'Label Du Bon Independent' in 1985, on Paris-based '7th Records' in 1989, on the UK's Charly Records, and again on Tomato Records in 1996, on Japan's Victor Records and again on Charly in 2001. It was issued again on 7th Records, this time in Japan, in 2009.

Discography

Singles
 The Roaring 60's - "We Love The Pirates" / "I'm Leaving Town" (1966, Marmalade 598001)
 Blossom Toes - "What On Earth" / "Mrs. Murphy's Budgerigar" / "Look At Me I'm You" (October 1967, Marmalade 598002)
 Brian Auger & The Trinity - "Red Beans And Rice" / "Part 2" (1967, Marmalade 598003)
 Julie Driscoll, Brian Auger & The Trinity - "Save Me" / "Part 2" (1967, Marmalade 598004)
 Chris Barber's Band - "Cat Call" / "Mercy, Mercy, Mercy" (1967, Marmalade 598005)
 Julie Driscoll, Brian Auger & The Trinity - "This Wheel's on Fire" / "A Kind Of Love-In"  (No. 5 UK, October 1967, Marmalade 598006)
 Kevin Westlake & Gary Farr - "Everyday" / "Green" (1968, Marmalade 598007)
 Blossom Toes - "I'll Be Your Baby Tonight" (Bob Dylan) b/w "Love Is" (March 1968, Marmalade 598009)
 Gordon Jackson - "Me Am My Zoo" / "A Day at the Cottage" (1968, Marmalade 598010)
 Julie Driscoll, Brian Auger & The Trinity - "Road to Cairo" / "Shadows of You" (1968, Marmalade 598011)
 Blossom Toes - "Postcard" / "Everybody's Leaving Me Now" (October 1968, Marmalade 598012)
 Chris Barber & His Jazzband - "Battersea Rain Dance" / "Sleepy John" (1969, Marmalade 598013)
 Blossom Toes - "Peace Loving Man" / "Above My Hobby Horses Head" (April 1969, Marmalade 598014)
 Brian Auger & The Trinity - "What You Gonna Do?" / "Bumpin' On Sunset" (1969, Marmalade 598015)
 Keith Meehan - "Darkness of My Life" / "Hooker Street" (1969, Marmalade 598016)
 Gary Farr - "Hey Daddy" / "The Vicar & The Pope" (1969, Marmalade 598017)
 Julie Driscoll, Brian Auger & The Trinity - "Take Me to The Water" / "Indian Rope Man" (1969, Marmalade 598018)
 Frabjoy And Runcible Spoon - "I'm Beside Myself" / "Animal Song" (1969, Marmalade 598019)
 Ottilie Patterson - "Bitterness of Death" / "Spring Song" (1969, Marmalade 598020)
 Gordon Jackson - "Song For Freedom" / "Sing To Me Woman" (1969, Marmalade 598021)
 Blossom Toes - "New Day" / "Love Bomb" (October 1969, Marmalade 598022)
 Julie Driscoll, Brian Auger & The Trinity - Indian Rope Man / I've Gotta Go Now (1969, Marmalade 598023)

Albums
 Blossom Toes – We Are Ever So Clean (October 1967, Marmalade 607001 (mono) 608001 (stereo))
 Julie Driscoll, Brian Auger and the Trinity – Open (1967, Marmalade 608002)
 Brian Auger – Definitely What (1968, Marmalade 608003)
 Sonny Boy Williamson – Don't Send Me No Flowers (1968, Marmalade 608004)
 Julie Driscoll, Brian Auger and the Trinity – Streetnoise (Double Album 1968, Marmalade 608005/6)
 John McLaughlin – Extrapolation (1969) Marmalade 608007
 Chris Barber – Battersea Rain Dance (Album - 1969, Marmalade 608009)
 Blossom Toes – If Only for a Moment (Album - July 1969, Marmalade 608010)
 Ottilie Patterson – 3000 Years With Ottilie (Album - July 1969, Marmalade 608011)
 Gordon Jackson – Thinking Back (Album - July 1969, Marmalade 608012)
 Gary Farr – Take Something With You (Album - 1969, Marmalade 608013)
 Julie Driscoll, Brian Auger and the Trinity – Streetnoise Volume 1 (Album - 1969, Marmalade 608014)
 Julie Driscoll, Brian Auger and the Trinity – Streetnoise Volume 2 (Album - 1969, Marmalade 608015)
 Various Artists – 100° Proof (Sampler Marmalade 643314)

References

British record labels
Record labels disestablished in 1969
Record labels established in 1967
British companies established in 1967
Defunct record labels of the United Kingdom


"I'll Be Alright" (French: "Juste avant toi") is a song recorded by Indonesian-born French singer Anggun for the special edition of her third international studio album Luminescence. It was written by the singer alongside Evelyne Kral, Alice L.B., and Cyril Paulus, and was produced by FB Cool and SDO. "I'll Be Alright" was released as the fourth single from the album for international market, while "Juste avant toi" was released as the third single in France and French-speaking countries.

Track listing
CD single
 Juste avant toi

Ultra edition
 Juste Avant Toi - Album/Single Version
 Juste Avant Toi - Teetof Dance Radio Edit
 I'll Be Alright
 Cesse la Pluie - FB Cool's Lounge Remix
 Juste Avant Toi - Video Track

Remixes
 Juste Avant Toi (Teetoff's Dance Ext. Remix)
 Juste Avant Toi (Da Gunners Ragga Remix)
 Juste Avant Toi (Teetoff's Dance Radio Edit)
 Juste Avant Toi (Da Gunners Ragga Radio Edit)
 Juste Avant Toi (Original Mix)

Music video
The music video was shot by Jean-Baptiste Erreca in Jakarta and Bali, during Anggun's biggest concert in Jakarta, Konser Untuk Negeri (Concert for the Country).

Chart performance
"I'll Be Alright/Juste Avant Toi" is the third single from Luminescence which managed to enter the European Hot 100 Singles, peaking at number 91. The French version was Anggun's fourth Top 40 in France, peaking at number 28 on French Singles Chart and stayed on the chart 18 weeks and has sold over 17.000 copies. The English version is one of the most famous Anggun's songs in Eastern Europe and has been played more than 43,000 times on Russian radio stations.

Charts

References

2006 singles
French-language songs
Anggun songs
2005 songs
Songs written by Anggun
Heben Music singles


Bernhard Buhmann (born 1979 in Bregenz, Austria) is an Austrian painter. He has a master's degree in Sociology (M.Sc Sociology) and Communication Science from the University of Vienna and is currently studying painting at the University of Applied Arts Vienna.

He is represented by Carbon 12 Dubai.

Selected exhibitions

2009
Spielwiese, Strabag Kunstforum, Vienna

2008
Sneak Preview, Carbon 12 Gallery, Dubai
Museum of Contemporary Art, Bukarest | MOYA, Vienna

2007
Gesellschafter Artaward, Artfair 21, Cologne
Anna, Arsch und Friedrich, Kunstverein Vorarlberg, Villa Claudia, Feldkirch
Bernhard Buhmann, IZD Tower, Museum of Young Art, Vienna
The Essence, Museum angewandter Kunst, Vienna
Gender Art Lab, Wittgensteinhaus, Vienna
Sans Serif, Produzentengalerie Praterstraße 15, Vienna
Bernhard Buhmann und Gernot Petjak, Museum of Young Art, Vienna

2006
Zeitgenössische Positionen, Galerie am Lidlweg, Neulengbach
The Essence 06, Museum angewandter Kunst, Vienna

2005
Junge Kunst, Galerie Mashart, Hohenems
Malstrom, Universität für angewandte Kunst, Vienna

2004
Malerei04, Universität für angewandte Kunst, Vienna
Nestle Kunstförderung, Sammlung Essl, Klosterneuburg
Siemens Art Lab, Vienna

1998
Segmente, Hohenems

Awards

2008
Preisträger des STRABAG Art Award

2007
Gewinner des Gesellschafter Art Award, Art fair 21, Cologne
Fohn-Stipendium, Vienna

2004
Nestle- Kunstförderung
Austria Card Förderpreis

External links
 Bernhard Buhmann
 Carbon 12 Dubai

Living people
1979 births
20th-century Austrian painters
Austrian male painters
21st-century Austrian painters
21st-century male artists
20th-century Austrian male artists


William Sawyer (November 25, 1815 – January 11, 1904) was a lumber merchant and political figure in Quebec. He represented Compton in the Legislative Assembly of Quebec from 1871 to 1886 as a Conservative.

He was born in Sawyerville, Quebec, the son of John Sawyer. His grandfather, Josiah Sawyer, after whom Sawyerville was named, was originally from Massachusetts and received a large land grant in Eaton Township. Sawyer owned sawmills and grist mills. He was a member of the council for Eaton Township from 1855 to 1872, serving as mayor, and was warden for Compton County. In 1839, he married Julia Smith. He died at Sawyerville at the age of 88.

References

two

1815 births
1904 deaths
Conservative Party of Quebec MNAs
Mayors of places in Quebec


Fire services in the United Kingdom use a variety of fire appliances, which perform a wide range of general and specialised roles and fit into several distinct categories. Contemporary fire appliances carry a multitude of equipment and firefighting media (such as water and foam) to deal with different types of emergencies ranging from fires, rescues, vehicle extrication, floods, salvage, casualty and trauma care.

The design and size of a fire appliance depends very much upon the role it is expected to perform. In general, most fire and rescue services use a standardised range of vehicles and equipment. However, airport fire services tend to use much larger and heavier appliances than those typically deployed by public fire services.
Most front line fire appliances in the UK are marked in high conspicuity red and yellow battenburg markings, and are fitted with blue lights and sirens. Many appliances have roller shutter doors revealing compartments housing various items of equipment.

Public fire and rescue services
Public fire and rescue services are those operated by fire and rescue authorities, and funded by council tax.
Most fire appliances used by them are referred to as "domestic" type appliances to differentiate them from larger airport crash tenders. They are normally based on truck chassis and weigh over 12tonnes, meaning they require an LGV licence to be driven. Some brigades use slightly smaller appliances based on gross vehicle weight of 7.5tonnes, which do not require an LGV licence. They are common in rural brigades where narrow lanes and rough terrain would be difficult for a larger fire engine to negotiate.

Water tender ladder / pump rescue ladder / rescue ladder / rescue pump / pump ladder / water rescue tender

The most common front line appliance deployed to all emergency calls goes by a variety of names, including rescue ladder, pump ladder, water rescue tender, or slight variations on those names.

It is a general purpose unit capable of carrying and pumping water, carrying rescue and cutting equipment to deal with road traffic accidents and other rescue operations, a large ladder (for example ) and several smaller ladders and roof ladders.

The appliance also carries breathing apparatus, lighting, tools, trauma care packs, water rescue gear, lines (ropes), hoses, and possibly chemical protection suits and foam. The vehicle will be crewed by four to six firefighters.

Water ladder / water tender
A water ladder or water tender is very similar to the aforementioned appliance, however with less emphasis on rescue gear and will usually carry a smaller ladder (for example 9m or 10.5m).

It is normally mobilised to augment and support the initial appliance or to respond to secondary, less urgent incidents. It is crewed by four to six firefighters.

Hydraulic platform
A hydraulic platform is a large appliance used for effecting rescue from high-rise structures.

It is essentially a large crane fitted with a caged platform which can be hoisted to heights well over  in some cases. The platform may be raised to windows or balconies to rescue stranded persons.

The appliance is also capable of pumping water and as such occasionally these units are also used to direct water jets into a fire from an elevated position.

Light rescue pump

These vehicles can vary from a converted van chassis to a purpose built fire appliance chassis. They often carry hydraulic rescue gear, 9m or 5.8m extension ladders and water. They are most often used as a second appliance in place of a pump rescue ladder or as a first appliance in its place in areas with small, tight roads.

Turntable ladder

A turntable ladder is similar in appearance to a hydraulic platform, however with a primary difference of instead of having a caged platform the turntable ladder is simply a large telescopic ladder, which can still be used to effect rescues from tall structures and pump water.

Aerial ladder platform

An aerial ladder platform is designed to deploy an elevated master stream of water, or to provide a method of rescuing trapped persons, the 'knuckle' design of the arm of an aerial ladder platform means that it is very manoeuvrable for rescue situations. The vehicle also has a set of ladders alongside the main boom that can be used for access or escape in the case of boom failure while at height.

Light four-wheel drive pump

Light four-wheel drive pumps  are a smaller version of the front line fire engine. They are usually used in rural locations where they can more easily negotiate tough terrain, narrow streets or remote access to certain areas.

They ordinarily carry a condensed quota of the equipment usually found on a normal-sized fire engine.

Light two-wheel drive pumps may also be used.

Rescue tender

A rescue tender is a generic term for any fire appliance which carries out a "heavy" or "specialist" rescue role.

The equipment it carries varies depending on where it is deployed. It may carry heavy-duty cutting equipment for use at road traffic collisions or other transport incidents.

Water rescue and confined space rescue gear may also feature, as well as extensive lighting equipment and pneumatic airbags to lift heavy loads.

Operational support unit

An operational support unit is a multi-role vehicle.

The term is interchangeable with other support appliances such as HazMat and chemical support, breathing apparatus tenders, hose layers, damage control tenders or decontamination units.

The vehicle carries equipment to support normal fire appliances and crews, typically at prolonged or major incidents.

Breathing apparatus tender
Breathing apparatus tenders carry extensive stocks of spare breathing apparatus (BA) cylinders at large incidents. They replenish cylinders which may have been used by firefighters tackling a protracted blaze or dealing with hazardous materials.

Some breathing apparatus tenders are also fitted with compressors which allow empty BA cylinders to be recharged on scene. Most also contain a mobile workshop so that BA sets can be repaired at the scene of incident so that they can be made available for use again at the incident within a very short period of time.

HazMat / scientific support unit / decontamination unit

These are specialised units equipped to deal with hazardous materials (HazMat) incidents.

Decontamination Units carry specialised equipment capable of decontaminating emergency workers and/or members of the public who have come into contact with HazMats. The equipment carried is wide-ranging and highly technical in nature.

Command unit

The advancement of technology and potential for very large-scale incidents has led to more fire services using or increasing their use of mobile command units.

A fundamental advantage of such an appliance is to accommodate the many different types of communication equipment needed at major incidents. In addition to the wide range of radio frequencies used, fire chiefs often need to communicate via landlines and send and receive information via satellite links and CCTV  of the ongoing situation.

The command vehicle can essentially be used as an on-site conference centre for command personnel, mapping and planning firefighting operations and booking-in and directing crews as they arrive.

Water carrier

Water carriers  are tankers that are used to provide vast volumes of water to locations that may not have a nearby hydrant or open water supply. In some Fire and Rescue Services they also double as foam tenders.

Foam tender
Foam tenders  carry large amounts of foam to be used at incidents where water is ineffective or cannot be used to tackle a blaze. They may take the form of a tanker, or a lorry carrying foam packets or barrels. In some fire and rescue services, water carriers serve as foam tenders, by dumping their regular load of water and replacing it with foam.

Welfare unit / mobile canteen
At large protracted incidents firefighters may be subjected to physically arduous work in inhospitable situations such as extreme heat. As such the welfare of firefighters is taken very seriously and ability to provide refreshments to sustain hydration and energy levels is paramount. This is where a welfare unit is mobilised.

Fire investigation unit

A fire investigation unit attends fires and incidents where the cause is thought to be suspicious, and is crewed by specially trained experts, acting in assistance to police investigations. It may take the form of a car or van.

Some brigades may also use specially trained search dogs. At the scene of incidents, the dog wears specialist protective 'fire wellies' on his or her paws to guard against injuries from broken glass or hot material. The dogs can detect minute quantities of hydrocarbon accelerants within minutes. This procedure would normally take a human investigator - using specialist equipment - much longer, before samples can be taken away for scientific analysis.

New Dimension vehicles

New Dimension vehicles are large curtain-side trucks designed to be deployed at incidents involving chemical, biological, radiological, and nuclear (CBRN) materials or for urban search and rescue (USAR) use at the scenes of natural or large-scale disasters.

They do not pump water, but instead carry stocks of mass decontamination equipment, scene lighting, chemical protection kits, environmental protection equipment and general purpose rescue equipment. They are always on standby to be deployed if local resources may be overwhelmed.

The New Dimension vehicles are owned by the government, rather than the fire and rescue service and are stationed at strategic locations throughout the UK.

High volume pumps
High volume pumps are also part of the New Dimension scheme. They carry a submersible pump, supplying water from any open source to the fireground; a pump that pumps up to  per minute (twice as much as a standard fire engine); a hose box module; and ancillary equipment. This equipment is carried in a pod on the back of the vehicle, similar to goods on a flatbed truck.  Because the vehicles are standard across the country, any high-volume pump vehicle can carry any pod, irrespective of the fire and rescue service the vehicle or pod is operated by. The pods are the same dimensions as the other New Dimension pods, so a vehicle that is used for high volume pump operations can carry a USAR pod.

They were used to great effect and in vast scale to assist operations at the Buncefield fire in Hertfordshire in 2005 and nationwide flooding in 2007.

Motorcycles

In July 2010, the Merseyside Fire and Rescue Service began a six-month trial of two fire bikes to be used to fight small fires, freeing up main appliances. Merseyside has also deployed other bikes for various uses since 2005. Several UK fire services use fire bikes not for firefighting, but as motorcycle road safety awareness tools.

Airport rescue and firefighting services

Ministry of Defence fire services
The Defence Fire and Rescue Service and Royal Air Force Rescue and Firefighting Service operate numerous types of appliances, ranging from domestic-type tenders to airfield crash tenders, depending on the location they are serving.

Industrial and private fire and rescue services
Industrial and private fire and rescue services use several types of appliances depending on the type of cover provided. Large oil refineries may have their own on-site fire service that deploys large bulk foam tenders to deal with major oil fires. Domestic type fire appliances are most commonly used.

Fire and rescue vehicles in British overseas territories
Fire service vehicles in British overseas territories are, in most cases, similar to those used in the United Kingdom. They also usually employ the use of battenburg markings.

References

Fire and rescue in the United Kingdom
Fire service vehicles