I don't put that on you either though. The quickest way to two points is a straight and solving things with someone like RTFM who can't even deal with basic interactions appropriately definitely wouldn't be a straight line. So, I'm fine taking one for the team for the sake of civility. A lot of people thanked me for the edits I did that you take issue with.
So, I at least know your way of dealing with it is in the fringe and how the community wants it to be resolved. Anyway, maybe you could do me a favor and ping me in two months to let me know the time is up. Since it's extremely doubtful I'll be on here much to check.
Where he created articles for service tags, and then didn't put anything about the tags or the actual alternatives. Except to assert his personal opinion that namespace are more precise and list a bunch of namespace tags that don't have proposals and almost zero usage. Wiki articles should be about the tag, not based on personal opinions, and list the alternatives.
Those are exactly the kinds none neutral, one sided edits that cause these problems in the first place. I'm not sure how I can be accused of targeting when I never removed mentions of namespaces from any article, but then somehow him deleting anything that's not a namespace from articles repeatedly my edits or not isn't. Him deleting my edits and continuing the behaviors that caused the problems in the first place is exactly what happens when only one side is blocked from making certain edits, but the other isn't.
It just emboldens the none blocked user. Especially in this case where his edits and behavior where clearly problematic to start with.
You told me it doesn't matter if his edits were right or wrong, I should just leave them alone. The same should go for him and then he should also leave mine alone. He shouldn't be creating bias, one sided articles full of his personal opinions either. Otherwise, the problems will just continue in 2 months when I restore my edits that he targeted and make the articles neutral again.
It's not just a personal problem with me anyway. He's still having the same problems with Jeisenbe that he did with me. As you can see here , here , and here. Where in the last few days he has insulted Jeisenbe and dismissed his opinions.
When Jeisenbe was being pretty reasonable. There's plenty of other examples. Probably those and the other edits are because he feels embolden now by the lack of consequences for his actions toward me. Do you really want to embolden and not deal with someone who acts and edits things the way he does if I had anything to do with it originally or not?
Do you think the Wiki or OSM would be better if most of the articles where just glorified lists of low usage non-proposed namespace tags or the vast majority of talk pages where full of personal accusations and insults? Because that's how it's going to be if he isn't put in check. Because i made an error, i transfered all contents.
Good pratice should be to put myself this? Can you delete Module:Infobox and other useless pages created by this user? There was discussion, with something that looks to me as a consensus decision, with tiny minority opposing. But single person who opposed claims that there is no consensus and that changes can not be made. Can you make a sanity check? I am pretty sure that I am right, but it started to descend into edit war depending on how you define it one or more people already started an edit war.
If you are unable to do it for some reason, please let me know and I will try to think for some other way to break deadlock I am not happy about liberum veto attempt, but edit war would not be a solution Mateusz Konieczny talk , 11 May UTC. So, RTFM is continuing to discuss and make accusations about me on his talk page. I have nothing to do with the problems he's having with other users and I'm tired of him trying to re-instigate things with me.
Especially since I was the one blamed for targeting him. Yet I've been leaving his articles alone. While he's putting his problems with other users on me and accusing me of things. I'd appreciate it if you dealt with it. Since I can't respond to him or defend myself. Plus, you told him not talk about me to anyone, I got blocked for doing the same thing, and he's already been blocked once for it. He needs to get it this time and stop discussing me, or there will just keep being problems.
Since it's not a synonym of music venue. Which he refused to do himself and edit warred my attempts to. There is also his revert on trailer:type. Although he created the article, it would still fall within the range of articles that caused problems in the first place and therefore him editing when I'm not allowed to be seen as trying to instigate things with me. But also the revert to Motorcyle tag overview. Since you had to lock it and he was suppose to discuss it on the talk page and deal with the problems brought up there.
His way of solving things by not discussing them, or insulting people, then waiting for awhile and just reverting people isn't the way to go about it. I can guarantee there will just be more problems on the 16th when I can edit articles again if he's not reprimanded in the meantime and continues to not do things the civil way.
Hopefully you deal with him in the meantime so there won't just be more problems. Hi, I have translated the rest of the page , and wish to know how I can ask for review. Did someone just somehow learn about the trade secrets, and made the wikipedia article because he didn't know they were trade secrets? Or was there a different reason? So you took down the website of a GED diploma mill because their lawyers wrote a letter? Kind of terrible ethics, considering that more people are going to get scammed because of your unwillingness to stand up for free speech -- and with an air tight case if you have a decent lawyer.
View all comments Show parent comments Here's the list and the rest of the padlocks. A like yr old spec that's galloping towards obsolescence I'd see that as a reason to remove the link, not blacklock the page. Colliding Tori Fusion Reactor - CTFR The legal team has reason to believe that the material that was posted here was a protected trade secret and determined removal was the best choice of action.
Feeling that it is her own fault, Anna goes on a quest to find her sister, while Hans is left in charge of Arendelle. During the journey, she finds a shop owned by Oaken , who has one winter outfit left in stock.
Just as Anna is about to buy the outfit, a ice harvester named Kristoff arrives, coming to get some items from the store, although he cannot afford it all. He later gets kicked out of the store by Oaken for calling him a crook. Having heard that Kristoff had traveled to the store from the North Mountain , Anna believes that Elsa must have ran off to the same place, and also gets Kristoff's supplies so to convince him to take her to the North Mountain on his sled run by his reindeer Sven.
However, they get attacked by wolves , and lose the sled in the process, having to continue by foot. Along the way, they meet a talking snowman named Olaf, who was originally made by Anna and Elsa in their childhood years. He was later made by Elsa while she was at the North Mountain, which she is unaware that she had brought him to life. Anna is able to meet up with Elsa, who is happy to see her, but tries to get Anna to leave.
Figuring out that Elsa does not know about the winter being set off, she manages to tell her, and tries to get her to come back to Arendelle and bring back summer.
However, Elsa refuses when she tries to keep away and not hurt Anna, and loses control of her powers, which hit Anna in the heart. Still trying to get Anna to leave, Elsa creates a giant snow-monster, referred to by Olaf as Marshmallow , and gets him to chase Anna, Kristoff, Olaf and Sven away from the palace.
Noticing that Anna's hair is turning white due to being struck by Elsa, Kristoff decides to take the gang to the Valley of the Living Rock to find the trolls, who had adopted him and Sven back in their childhood.
Along the way, Anna and Kristoff begin to develop feelings for each other. The trolls are happy to see Kristoff back, and get interested when they see Anna, thinking that she is perfect for Kristoff, but the two try to convince them that there is not any romance between them, especially that Anna is already engaged to someone else.
As the trolls arrange a wedding for the two, Anna becomes more affected by the curse, which is the moment when Pabbie arrives, having sensed something strange, and informs them that Anna's heart has ice in it, and can only be cured if she does an act of true love. Believing that true love's kiss may count, the gang head back to Arendelle to take Anna to Hans.
Meanwhile, Hans has arrived at Elsa's palace with some of the castle guards and the Duke's bodyguards after thinking that Anna is in danger. While Hans and the castle guards fight against Marshmallow, the Duke's bodyguards head into the palace to chase Elsa, who then uses her powers to try and kill them. As soon as Hans and the castle guards arrive after they won the fight with Marshmallow, Elsa stops when Hans tells her to not become a monster that the Duke believes she is.
When one of the bodyguards prepares to shoot an arrow at Elsa, Hans turns it toward the chandelier, to which Elsa manages to run out of the spot where it smashes, but becomes unconscious and gets taken to Arendelle's dungeon.
Kristoff later arrives in Arendelle with Anna, who then gets taken into the castle to Hans by the servants. Feeling saddened now that he has feelings for Anna, Kristoff leaves with Sven. Anna is able to be taken to Hans, and explains to him that he needs to kiss her, but he instead reveals that he had been planning to marry Anna so that he could rule Arendelle, when he was unable to wait to be crowned in his own kingdom as being the youngest of his family.
The next part of his plan is to kill Elsa and get summer back, to which he leaves Anna locked in the library , and lies to the Duke and dignitaries, who went to a different room, that Anna is already dead. He also mentions that they got married just before Anna's supposed death, which would make him ruler of Arendelle. However, when he gives an order to sentence Elsa to death, Elsa manages to escape onto the fjord just as the guards arrive.
Olaf, who went a different way through Arendelle, comes into the library, and notices that Anna is still unwell. To make her warm, Olaf lights a fire in the fireplace, to which Anna gets concerned about Olaf melting from the heat. Thinking that she now does not know what love is, Olaf is able to explain to her about love, and uses Kristoff as a example of taking her back to Hans and then leaving, which reveals to Anna about Kristoff's feelings for her.
Olaf then notices outside the window that Kristoff and Sven are coming back, having noticed that a blizzard is forming around Arendelle. Knowing that Kristoff could be the solution, Anna and Olaf head out onto the fjord to get to him. Meanwhile, Hans manages to get to Elsa, telling her that she will not be able to get away. At the moment that Elsa mentions her sister, Hans tells her about what happened to Anna, leaving Elsa upset when he tells her that she killed Anna.
This causes Elsa to collapse and mourn her sister's death, also stopping the blizzard. With the air looking clear, Anna and Kristoff quickly begin to come toward each other, but Anna then sees Hans about to kill Elsa, and runs toward them to try and save her sister's life. She appears in front of Hans just as he starts to swing his sword , putting her hand out before she then freezes into a statue, causing the sword to break and knock Hans unconscious.
Elsa then notices what has happened, she mourns on the loss of her sister and starts crying. However, Anna is brought back to life, as saving Elsa is an act of true love.
Learning that love would thaw, Elsa is able to thaw the snow and ice around Arendelle, having summer restored. In addition, she gives Olaf a flurry so that he does not melt, as he has been wanting to spend time in summer. To pay Hans back for his behavior, Anna punches him off the ship, before hugging Elsa, as well as returning Kristoff's feelings.
The French dignitary plans to send Hans back to the Southern Isles so to be punished by his brothers, while Elsa cuts off trades with Weselton. Saying that he loves the sled, Kristoff then mentions that he could kiss Anna, which causes him to get embarrassed and ask if they shall.
In response to this, Anna kisses him on the cheek and agrees, to which they then kiss on the lips. Olaf is also enjoying summer, and is pleased to have Sven around. Elsa then creates an ice-skating rink in the castle for everyone to skate on, with Anna happy that the gates are open, to which Elsa plans to not close them again anymore. In a post-credits scene, Marshmallow is shown to have survived his fall during his battle with Hans and the castle guards, and comes across Elsa's crown in the palace.
Putting it on, he feels glad to become ruler of the palace. Concept art from Disney's shelved hand-drawn film The Snow Queen. However, the studio encountered difficulty with The Snow Queen , as it could not find a way to adapt and relate the Snow Queen character to modern audiences.
Even as far back as the s and s, it was clear that the source material contained great cinematic possibilities, but the Snow Queen character proved to be too problematic. After the United States entered World War II, the studio began to focus on making wartime propaganda, which caused development on the Disney-Goldwyn project to grind to a halt in All of Andersen's fairy tales were, instead, told in song and ballet in live-action, like the rest of the film.
It went on to receive six Academy Award nominations the following year. In the late s, Walt Disney Feature Animation started developing a new adaptation of The Snow Queen after the tremendous success of their recent films during the Disney Renaissance era, but the project was scrapped completely in late , when Glen Keane reportedly quit the project [31] and went on to work on another project which became Tangled Even before then, Harvey Fierstein pitched his version of the story to the Disney executives, but was turned down.
The next attempt started in when Lasseter was able to convince Chris Buck who had co-directed Tarzan for the studio to return to Disney Animation from Sony Pictures Animation where he had recently co-directed the Oscar-nominated Surf's Up , and that September, Buck pitched several ideas to Lasseter, one of which was The Snow Queen , after Chris Buck pitched several ideas to Lasseter who by then had also become Chief Creative Officer of Disney Animation , one of which was The Snow Queen.
On December 22, , following the success of Tangled , Disney announced a new title for the film, Frozen , and a release date of November 27, After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, who was then a villain in their drafts.
Buck and Del Vecho presented their storyboards to Lasseter, and the entire production team adjourned to a conference to hear Lasseter's thoughts on the project. But the characters didn't resonate. They aren't multi-faceted. Which is why John felt that audiences wouldn't really be able to connect with them. The production team then addressed the film's problems, drafting several different variations on The Snow Queen story until the characters and story felt relevant.
At that stage, the first major breakthrough was the decision to rewrite the film's protagonist Anna who was based on the Gerda character from The Snow Queen , as the younger sibling of Elsa, thereby effectively establishing a family dynamic between the characters.
In March , Jennifer Lee, one of two screenplay writers of Wreck-It Ralph , was brought in as one of the film's writers.
According to Lee, several core concepts were already in place from Buck and Del Vecho's early work, such as the film's "frozen heart" hook: "That was a concept and the phrase But you have to earn that ending. If you do[,] it will be great. If you don't, it will suck. Before Lee was brought on board, another screenwriter had made a first pass at a script, and Anderson-Lopez and Lopez tried to write songs for that script but none worked and all were cut.
The earlier versions differed sharply from the final version. In the original script the songwriters first saw, Elsa was evil from the start; she kidnapped Anna from her own wedding to intentionally freeze her heart, then later descended upon the town with an army of snowmen with the objective of recapturing Anna to freeze her heart properly.
One major breakthrough was the composition of the song "Let It Go" by songwriters Lopez and Anderson-Lopez, which forced the production team to reconceptualize and rewrite Elsa as a far more complex, vulnerable, and sympathetic character. Forget villain. Just what it would feel like. And this concept of letting out who she is[,] that she's kept to herself for so long[,] and she's alone and free, but then the [ sic ] sadness of the fact that the last moment is she's alone.
So that was when we really found the movie and who these characters were. Another major breakthrough was developing the plot twist that Prince Hans would be revealed as the film's true villain only near the end.
And with Elsa he's a hero. Because the minute it is [understood,] it deflated. Horn pointed out that it would confuse and annoy viewers since Anna was already engaged to Hans. Lee had to work through the issue of how to write Anna's personality, in that some of her colleagues felt Anna should be more dysfunctional and co-dependent, like Vanellope von Schweetz in Wreck-It Ralph. No more than that.
No less than that. To construct Anna and Elsa's relationship as sisters, Lee found inspiration in her own relationship with her older sister. The production team also turned Olaf from Elsa's obnoxious sidekick into Anna's comically innocent sidekick.
The problem of how exactly Anna would save Elsa at the film's climax was solved by story artist John Ripa. At the story meeting where Ripa pitched his take on the story, the response was silence until Lasseter said, "I've never seen anything like that before," which was followed by a standing ovation. Along the way, the production team went through drafts where the first act included far more detail than what ended up in the final version, such as a troll with a Brooklyn accent who would have explained the backstory behind Elsa's magical powers, and a regent for whom Lee was hoping to cast comedian Louis C.
Actress Kristen Bell was cast as the voice of Anna on March 5, Their posture was too good and they were too well-spoken, and I feel like I really made this girl much more relatable and weirder and scrappier and more excitable and awkward.
I'm really proud of that. Menzel had formerly auditioned for Tangled , but didn't get the part. However, Tangled 's casting director Jamie Sparer Robert preserved a recording of Menzel's performance on her iPhone, and on the basis of that, asked her to audition along with Bell for Frozen. Following Lee's extensive involvement in Frozen 's development process and her close work with director Buck and songwriters Lopez and Anderson-Lopez, [34] studio heads Lasseter and Catmull promoted her to co-director of the film alongside Buck in August By November , the production team thought they had finally "cracked" the puzzle of how to make the film's story work, [32] but according to Del Vecho, in late February , it became clear that the film still "wasn't working", which necessitated further rewriting of scenes and songs from February through June But that was close.
In hindsight, piece of cake, but during, it was a big struggle. That month, Disney conducted test screenings of the half-completed film with two audiences one made up of families and the other made up of adults [65] in Phoenix, Arizona, [55] at which Lasseter and Catmull were personally present. In an example of the film's animation, Elsa finally embraces her magical abilities during her song "Let It Go. Similar to Tangled , Frozen employed a unique artistic style by blending features of both computer-generated imagery CGI and traditional hand-drawn animation together.
To create the look of Frozen , Giaimo began pre-production research by reading extensively about the entire region of Scandinavia and visiting the Danish-themed city of Solvang near Los Angeles, but eventually zeroed in on Norway in particular because "80 percent" of the visuals that appealed to him were from Norway.
It was important to see the scope and scale of Norway, and important for our animators to know what it's like," Del Vecho said. During , while Giaimo and the animators and artists conducted preparatory research and developed the film's overall look, the production team was still struggling to develop a compelling script, as explained above. That problem was not adequately solved until November , [32] and the script would later require even more significant revisions after that point.
Del Vecho explained how the film's animation team was organized: "On this movie we do have character leads, supervising animators on specific characters. The animators themselves may work on multiple characters but it's always under one lead. I think it was different on Tangled , for example, but we chose to do it this way as we wanted one person to fully understand and develop their own character and then be able to impart that to the crew.
Hyrum Osmond, the animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee, it's her first time leading a character and we wanted her to lead Anna. This helped her discover elements that made the scene feel real and believable. Regarding the look and nature of the film's cinematograph, Giaimo was greatly influenced by Jack Cardiff's work in Black Narcissus. According to him, it lent a hyper-reality to the film: "Because this is a movie with such scale and we have the Norwegian fjords to draw from, I really wanted to explore the depth.
From a design perspective, since I was stressing the horizontal and vertical aspects, and what the fjords provide, it was perfect.
We encased the sibling story in scale. It was also Giaimo's idea that Frozen should be filmed in the CinemaScope aspect ratio, which was approved by Lasseter. Giaimo, whose background is in traditional animation, said that the art design environment represents a unity of character and environment and that he originally wanted to incorporate saturated colors, which is typically ill-advised in computer animation.
Another important issue Giaimo insisted on addressing was costumes, in that he "knew from the start" it would be a "costume film. During production, the film's English title was changed from The Snow Queen to Frozen , a decision that drew comparisons to another Disney film, Tangled. Peter Del Vecho explained that "the title Frozen came up independently of the title Tangled. It's because, to us, it represents the movie.
Frozen plays on the level of ice and snow but also the frozen relationship, the frozen heart that has to be thawed. We don't think of comparisons between Tangled and Frozen , though. Maybe there's a richness to The Snow Queen in the country's heritage and they just wanted to emphasize that. The studio also developed several new tools to generate realistic and believable shots, particularly the heavy and deep snow and its interactions with the characters.
Disney wanted an "all-encompassing" and organic tool to provide snow effects but not require switching between different methods. Kenneth Libbrecht, a professor from the California Institute of Technology, was invited to give lectures to the effects group on how snow and ice form, and why snowflakes are unique.
Another challenge that the studio had to face was to deliver shots of heavy and deep snow that both interacted believably with characters and had a realistic sticky quality. It breaks apart. It can be compressed into snowballs. All of these different effects are very difficult to capture simultaneously.
The tool was capable of depicting realistic snow in a virtual environment and was used in at least 43 scenes in the film, including several key sequences. Since snow doesn't have any connections, it doesn't have a mesh, it can break very easily. So that was an important property we took advantage of," explained Selle. It's very organic how that happens.
You don't see that they're pieces already — you see the snow as one thing and then breaking up. Other tools designed to help artists complete complicated effects included Spaces , which allowed Olaf's deconstructible parts to be moved around and rebuilt, Flourish , which aided extra movement such as leaves and twigs to be art-directed; Snow Batcher , which helped preview the final look of the snow, especially when characters were interacting with an area of snow by walking through a volume, and Tonic , which enabled artists to sculpt their characters' hair as procedural volumes.
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