A Game of Thrones is a mod for CKII. It is based on the award-winning A Song of Ice and Fire series by George R.R. Martin.
This is a picture taken from the first official release of the A Game of Thrones mod in May 2012. As seen, each major region is ruled by Lords Paramount (king-tier title) under the King of the Iron Throne (emperor-tier title).
The mod currently offers the following scenarios:
The More Bookmarks Sub-Mod adds a number of additional bookmarks, including the Defiance of Duskendale and the Laughing Storm Rebellion.
Status of the Mod[edit]
This mod is currently in development (v.1.9.1 as of Apr 2019). There is a full edition available on the [1] and on the mod forums.
The current mod version is 1.9, and it now extends to include Essos and beyond. As of this update, the mod is compatible with CK2 3.0.1
Troubleshooting[edit]
Frequently Asked Questions[edit]
Q: What is this?
Q: Who can I play?
Q: What is 'NB+ AGoT Edition?
Q: What are some of the new features?
Q: Is Essos in the mod?
Q: I haven't read all the books. Is it safe for me to play this mod?
All scenarios contain setting spoilers. If it's really important to you to not know who the Lord of Winterfell in 255 was, we suggest not playing the mod at all. If you only care about avoiding spoilers for the events of the books and show, however, you'll be safe so long as you follow these instructions:Don't read the house descriptions on the Game Over screen.Don't go mucking around in the mod's source files, especially the character history files.Choose your scenario wisely.
Q: Which scenarios contain spoilers?
Mod Of The Dead Song By Joseph Cash
'Q: What DLC does the mod need/use?'
However some of the DLC does add content to the mod, here is an overview:
Main Expansions
Minor DLC
Q: I have a copy of the HBO show's opening theme that I acquired completely legitimately. How can I use it as my main menu music?
Q: What is the 'Old Frames' option in the installer?
Q: I'm a Wildling and I have no idea what I'm doing.
Q:I'm making a CK2 mod and would like to use your Duel Engine or any other part of the mod, or I'd like to use your Duel Engine as a standalone mod.
Q: My character has like 25 martial, why is he losing to guys with really low martial in duels?
Q: Are there supposed to be random silent sisters showing up in the Kingsguard/Nightswatch's court?
Q: Why are all High Septons called High Septon I?
Q: Fabricating claims isn't working/happening too often, what have you done to it?
Q: I am a French speaker, why are the dynasty names in English?
Q: I am a Mac user; how come the mod doesn't work and how do I fix it?
Q:BOOK/SEASON 2 SPOILERS AHEAD: Why can't I play as Renly in A Clash of Kings?
Q:Why are my wars ending inconclusively sometimes?
Q:How do I colonise a ruin?
Q: I selected the A Game of Thrones bookmark, but the commander of the Dragon's Gate keeps killing everyone! What gives?
Mechanics[edit]
While the game mainly focuses on translating standard CKII to a Westerosi setting, that necessitates some differences in gameplay.
The years are counted from the Long Night (8000 years before Aegon's Landing), making 282 AL the year 8282 because there are plans to add a scenario set before Aegon's Landing and the CK2 engine doesn't accept negative dates.
Firstly, each holding has an additional building. Specific to cultures, all baronies and bishoprics have special upgrades. These all start at a certain level, and cannot be upgraded further. Other, vanilla buildings (such as Castle Village) can be upgraded normally. These provide the overwhelming majority of levy troops in each province, making individual provinces more valuable than in the base game.
Also, the number of troops one can field is much higher than in the vanilla - the Crownlands themselves can easily field from 5 to 10 thousand men, and they are one of the less sizable forces. However, levies replenish much slower than in the base game and the battles are more decisive.
One can build additional holdings in a province, but due to the hardcoded 'one of every type of holding' requirement, these will be usually temples.
Secondly, there is a different structure to the whole vassal setup. Everyone in Westeros, with the exception of the northern Night's Watch duchy, are sworn to the Iron Throne in post conquest scenarios. Due to a number of reasons, even absolute crown authority allows vassals to wage war on other vassals.
Additionally, there is a megawar setup. Every time a succession occurs, there is a good chance of a succession crisis. When this happens, all Lords Paramount (kings) are made independent. They are able to join the King of the Iron Throne, the rebels, or declare independence. Usually, the king will win a succession crisis, but it is certainly not a hard and fast rule. The same thing happens whenever a war is declared on a King of the Iron Throne.
One should also note that 95% of all Westerosi provinces are connected by land and straits. Only the Arbor in the far southwest, and the Iron Islands to the northwest are disconnected. However, the Iron Islands are connected to each other.
Furthermore, one should also note that boats, for the majority of provinces, are not a reality. Only a handful of provinces - including Dragonstone - have a fleet at all. Only the Ironborn of the Iron Islands have large navies, as boats are included in their cultural buildings. Specifically, the North is never to have boats, at least not ones available to the AI due to AI problems.
To ensure that the High Valyrian culture is limited to the Targaryen dynasty only, randomly generated High Valyrian courtiers die off naturally at a young age. Similarly, province culture spread is disabled for the High Valyrian culture.
Mercenary forces are hardcoded. Their numbers will rise as time passes, but will seem small for Westeros.
In addition, there are plot events, which are connected to the events of the books. However, they might play out in a completely different way.
Education (the one you pay for) affects the child's education (e.g. brilliant commander) traits. Other traits (e.g. lustful) are determined by the guardian (the one you choose in a standard way). You may pay for a poor level of education, a standard level and a high level of education.
Duel outcomes are affected by your traits, and not by the martial stat. Valyrian swords and traits such as strong and tall increase your odds of winning. If you get a duel chain lasting for several clicks, do not worry - it is WAD and the duel will ultimately reach its conclusion.
Valyrian swords are tied to a particular dynasty and inheritable. You also have a small chance of gaining a Valyrian blade in combat, by taking a settlement and ambition events.
You can't marry someone who is widowed or a silent sister or a maester or a member of Night's Watch.
The chance of taming a dragon depends on various factors, among them visiting the provinces of King's Landing, Dragonstone and Summerhall; being a Targaryen; being High Valyrian.
Retrieved from 'https://ck2.paradoxwikis.com/index.php?title=A_Game_of_Thrones&oldid=37498'
An image from the movie Quadrophenia (1979) of two mid-1960s mods on a customised scooter
Mod is a subculture that began in London in 1958 and spread throughout Great Britain and elsewhere, eventually influencing fashions and trends in other countries. The mods spread throughout Great Britain and elsewhere, eventually influencing fashions and trends in other countries,[1] and continues today on a smaller scale. Focused on music and fashion, the subculture has its roots in a small group of stylish London-based young men in the late 1950s who were termed modernists because they listened to modern jazz.[2]Elements of the mod subculture include fashion (often tailor-made suits); music (including soul, rhythm and blues, ska, jazz, and freakbeat); and motor scooters (usually Lambretta or Vespa). The original mod scene was associated with amphetamine-fuelled all-night dancing at clubs.[3]
During the early to mid 1960s, as mod grew and spread throughout England, certain elements of the mod scene became engaged in well-publicized clashes with members of rival subculture, rockers.[4] The mods and rockers conflict led sociologist Stanley Cohen to use the term 'moral panic' in his study about the two youth subcultures,[5] which examined media coverage of the mod and rocker riots in the 1960s.[6]
By 1965, conflicts between mods and rockers began to subside and mods increasingly gravitated towards pop art and psychedelia. London became synonymous with fashion, music, and pop culture in these years, a period often referred to as 'Swinging London.' During this time, mod fashions spread to other countries and became popular in the United States and elsewhereâwith mod now viewed less as an isolated subculture, but emblematic of the larger youth culture of the era.
As mod became more cosmopolitan during the 'Swinging London' period, some working class 'street mods' splintered off, forming other groups such as what eventually became known as skinheads. There was a mod revival in the United Kingdom in the late 1970s, which attempted to replicate the 'scooter' period look and styles of the early to mid 1960s. It was followed by a similar mod revival in North America in the early 1980s, particularly in southern California, Vancouver, and Toronto.[7][8]
Etymology and usage[edit]
The term mod derives from modernist, a term used in the 1950s to describe modern jazz musicians and fans.[9] This usage contrasted with the term trad, which described traditional jazz players and fans. The 1959 novel Absolute Beginners describes modernists as young modern jazz fans who dress in sharp modern Italian clothes. The novel may be one of the earliest examples of the term being written to describe young British style-conscious modern jazz fans. This usage of the word modernist should not be confused with modernism in the context of literature, art, design and architecture. From the mid-to-late 1960s onwards, the mass media often used the term mod in a wider sense to describe anything that was believed to be popular, fashionable or modern.
Paul Jobling and David Crowley argue that the definition of mod can be difficult to pin down, because throughout the subculture's original era, it was 'prone to continuous reinvention.'[10] They claim that since the mod scene was so pluralist, the word mod was an umbrella term that covered several distinct sub-scenes. Terry Rawlings argues that mods are difficult to define because the subculture started out as a 'mysterious semi-secret world', which the Who's manager Peter Meaden summarised as 'clean living under difficult circumstances.'[11]
History 1958-1969[edit]
George Melly wrote that mods were initially a small group of clothes-focused English working class young men insisting on clothes and shoes tailored to their style, who emerged during the modern jazz boom of the late 1950s.[12] Early mods watched French and Italian art films and read Italian magazines to look for style ideas.[11] They usually held semi-skilled manual jobs or low grade white-collar positions such as a clerk, messenger or office boy. According to Hebdige, mods created a parody of the consumer society that they lived in.[13]
Early 1960s[edit]
Quadrophenia exhibit at the Cotswold Motor Museum in Bourton-on-the-Water in 2007
According to Dick Hebdige, by around 1963, the mod subculture had gradually accumulated the identifying symbols that later came to be associated with the scene, such as scooters, amphetamine pills and R&B music.[14] While clothes were still important at that time, they could be ready-made. Dick Hebdige wrote the term mod covered a number of styles including the emergence of Swinging London, though to him it has come to define Melly's working class clothes-conscious teenagers living in London and south England in the early to mid 1960s.[14]
Mary Anne Long argues that 'first hand accounts and contemporary theorists point to the Jewish upper-working or middle-class of Londonâs East End and suburbs.'[15]Simon Frith asserts that the mod subculture had its roots in the 1950s beatnik coffee bar culture, which catered to art school students in the radical Bohemian scene in London.[16] Steve Sparks, who claims to be one of the original mods, agrees that before mod became commercialised, it was essentially an extension of the beatnik culture: 'It comes from âmodernistâ, it was to do with modern jazz and to do with Sartre' and existentialism.[15] Sparks argues that 'Mod has been much misunderstood .. as this working-class, scooter-riding precursor of skinheads.'
The Small Faces in 1965.
Coffee bars were attractive to British youths because, in contrast to typical pubs, which closed at about 11pm, they were open until the early hours of the morning. Coffee bars had jukeboxes, which in some cases reserved space in the machines for the customers' own records. In the late 1950s, coffee bars were associated with jazz and blues, but in the early 1960s, they began playing more R&B music. Frith notes that although coffee bars were originally aimed at middle-class art school students, they began to facilitate an intermixing of youths from different backgrounds and classes.[17] At these venues, which Frith calls the 'first sign of the youth movement', young people would meet collectors of R&B and blues records, who introduced them to new types of African-American music, which the teens were attracted to for its rawness and authenticity[citation needed].
As the mod subculture grew in London during the early-to-mid 1960s, tensions would often arise between the mods, often riding highly decorated motor scooters, and their main rivals, the rockers, a British subculture who favoured rockabilly, early rock'n'roll, motorcycles and leather jackets, and considered the mods effeminate, because of their interest in fashion.[18] Violent clashes would often ensue between the two groups.[18] This period was later immortalized by songwriter Pete Townshend, in the Who's 1973 concept album, Quadrophenia.[19]
However, after 1964, clashes between the two groups largely subsided, as mod expanded and came to be accepted by the larger youth generation in England as a symbol of all that was new.[20][21] During this time London became a mecca for rock music, with popular bands such as The Who and The Small Faces appealing to a largely mod audience,[22] as well as the preponderance of hip fashions, in a period often referred to as Swinging London.
Mid-late 1960s[edit]Swinging London[edit]Mod Of The Dead Song Where Are We Going
'Swinging London,' Carnaby Street, circa 1966.
As numerous British rock bands of the mid-1960s began to adopt a mod look and following,[22] the scope of the subculture grew beyond its original confines and the focus began to change. By 1966, proletarian aspects of the scene in London had waned as fashion and pop-culture elements continued to grow, not only in England, but elsewhere.[1]
This period, portrayed by Alberto Sordi's movie in Thank you very much, and in Michelangelo Antonioni's 1966 film Blowup,[23] was typified by pop art, Carnaby Street boutiques, live music, and discothèques. Many associate this era with fashion model Twiggy, miniskirts, and bold geometrical patterns on brightly coloured clothes. During these years, it exerted a considerable influence on the worldwide spread of mod.[1]
United States and elsewhere[edit]
A young American woman wearing a miniskirt in 1966.
As mod was going through transformation in England, it became all the rage in the United States and around the world, as many young people adopted its look.[1] However, the worldwide experience differed from that of the early scene in London in that it was based mainly on the pop culture aspect, influenced by British rock musicians. By now, mod was thought of more as a general youth-culture style rather than as a separate subgroup amongst different contentious factions.[20][21][24]
Countless American musicians in the wake of the British Invasion adopted the look of mod clothes, longer hairstyles, and Beatle boots.[25] The exploitation documentary Mondo Mod provides a glimpse at mod's influence on the Sunset Strip and West Hollywood scene of late 1966.[26] Mod increasingly became associated with psychedelic rock and the early hippie movement, and by 1967 more exotic looks, such as Nehru jackets and love beads came into vogue.[27][28][29] Its trappings were reflected on popular American TV shows such as Laugh-In and The Mod Squad.[30][31][32][33]
Decline[edit]
Dick Hebdige argues that the subculture lost its vitality when it became commercialized and stylised to the point that mod clothing styles were being created 'from above' by clothing companies and by TV shows like Ready Steady Go!, rather than being developed by young people customising their clothes and combining different fashions.[34]
As psychedelic rock and the hippie subculture grew more popular in the United Kingdom, much of mod, for a time seemed intertwined with those movements. However, after 1968 it dissipated, as tastes began to favor a less style-conscious, denim and tie-dyed look, along with a decreased interest in nightlife. Bands such as The Who and Small Faces began to change and, by the end of the decade, moved away from mod. Additionally, the original mods of the early 1960s were coming to the age of marriage and child-rearing, which meant many of them no longer had the time or money for their youthful pastimes of club-going, record-shopping, and buying clothes.
Later developments 1969-present[edit]Offshoots[edit]
Some street-oriented mods, usually of lesser means, sometimes referred to as hard mods, remained active well into the late 60s, but tended to become increasingly detached from the Swinging London scene and the burgeoning hippie movement.[35][36] By 1967, they considered most of the people in the Swinging London scene to be 'soft mods' or 'peacock mods,' as styles, there, became increasingly extravagant, often featuring highly ruffled, brocaded, or laced fabrics in Day-Glo colours.[29][35][36]
Mod graffiti in Italy from 2007.
Many of the hard mods lived in the same economically depressed areas of South London as West Indian immigrants, so these mods favored a different kind of attire, that emulated the rude boy look of Trilby hats and too-short trousers.[37] These 'aspiring 'white negros'' listened to Jamaican ska and mingled with black rude boys at West Indian nightclubs like Ram Jam, A-Train and Sloopy's.[38][39][40] Hebdige claims that the hard mods were drawn to black culture and ska music in part because the educated, middle-class hippie movement's drug-oriented and intellectual music did not have any relevance for them.[41] He argues that the hard mods were attracted to ska because it was a secret, underground, non-commercialised music that was disseminated through informal channels such as house parties and clubs.[42]
By the end of the 60s, the hard mods had become known as skinheads,[43] who, in their early days, would be known for the same love of soul, rocksteady and early reggae.[44][45][46] Because of their fascination with black culture, the early skinheads were, except in isolated situations, largely devoid of the overt racism and fascism that would later become associated with whole wings of the movement in the mid to late 70s.[47] The early skinheads retained basic elements of mod fashionâsuch as Fred Perry and Ben Sherman shirts, Sta-Prest trousers and Levi's jeansâbut mixed them with working class-oriented accessories such as braces and Dr. Martens work boots. Hebdige claims that as early as the Margate and Brighton brawls between mods and rockers, some mods were seen wearing boots and braces and sporting close cropped haircuts (for practical reasons, as long hair was a liability in industrial jobs and street fights).
Mods and ex-mods were also part of the early northern soul scene, a subculture based on obscure 1960s and 1970s American soul records. Some mods evolved into, or merged with, subcultures such as individualists, stylists, and scooterboys.[11]
Revivals and later influences[edit]
A mod revival started in the late 1970s in the United Kingdom, with thousands of mod revivalists attending scooter rallies in locations such as Scarborough and the Isle of Wight. This revival was partly inspired by the 1979 film Quadrophenia and by mod-influenced bands such as The Jam, Secret Affair, The Lambrettas, Purple Hearts, The Specials and The Chords, who drew on the energy of new wave music.
Mod revivalists in Box Hill, Surrey, England, in April 2007
The British mod revival was followed by a revival in North America in the early 1980s, particularly in Southern California, led by bands such as The Untouchables.[7][8] The mod scene in Los Angeles and Orange County was partly influenced by the 2 Toneska revival in England, and was unique in its racial diversity, with black, white, Hispanic and Asian participants. The 1990s Britpop scene featured noticeable mod influences on bands such as Oasis, Blur, Ocean Colour Scene and The Verve. Popular 21st century musicians Miles Kane[48] and Jake Bugg[49] are also followers of the mod subculture.
(You can check your manufacturer support website for more specific details.)If you have multiple video outputs, try to switch the connection to a different port. In the instructions outlined below, you'll find troubleshooting steps to help you resolve this issue.
Characteristics[edit]
Dick Hebdige argues that when trying to understand 1960s mod culture, one has to try and 'penetrate and decipher the mythology of the mods'.[50] Terry Rawlings argues that the mod scene developed when British teenagers began to reject the 'dull, timid, old-fashioned, and uninspired' British culture around them, with its repressed and class-obsessed mentality and its 'naffness'.[11] Mods rejected the 'faulty pap' of 1950s pop music and sappy love songs. They aimed at being 'cool, neat, sharp, hip, and smart' by embracing 'all things sexy and streamlined', especially when they were new, exciting, controversial or modern.[11] Hebdige claims that the mod subculture came about as part of the participants' desire to understand the 'mysterious complexity of the metropolis' and to get close to black culture of the Jamaicanrude boy, because mods felt that black culture 'ruled the night hours' and that it had more streetwise 'savoir faire'.[50] Shari Benstock and Suzanne Ferriss argue that at the 'core of the British Mod rebellion was a blatant fetishising of the American consumer culture' that had 'eroded the moral fiber of England.'[51] In doing so, the mods 'mocked the class system that had gotten their fathers nowhere' and created a 'rebellion based on consuming pleasures'.
The influence of British newspapers on creating the public perception of mods as having a leisure-filled club-going lifestyle can be seen in a 1964 article in the Sunday Times. The paper interviewed a 17-year-old mod who went out clubbing seven nights a week and spent Saturday afternoons shopping for clothes and records. However, few British teens and young adults would have had the time and money to spend this much time going to nightclubs. Paul Jobling and David Crowley argue that most young mods worked 9 to 5 at semi-skilled jobs, which meant that they had much less leisure time and only a modest income to spend during their time off.[52]
Fashion[edit]
Paul Jobling and David Crowley called the mod subculture a 'fashion-obsessed and hedonistic cult of the hyper-cool' young adults who lived in metropolitan London or the new towns of the south. Due to the increasing affluence of post-war Britain, the youths of the early 1960s were one of the first generations that did not have to contribute their money from after-school jobs to the family finances. As mod teens and young adults began using their disposable income to buy stylish clothes, the first youth-targeted boutique clothing stores opened in London in the Carnaby Street and King's Road districts.[53] The streets' names became symbols of, one magazine later stated, 'an endless frieze of mini-skirted, booted, fair-haired angular angels'.[54] Newspaper accounts from the mid-1960s focused on the mod obsession with clothes, often detailing the prices of the expensive suits worn by young mods, and seeking out extreme cases such as a young mod who claimed that he would 'go without food to buy clothes'.[52]
Two youth subcultures helped pave the way for mod fashion by breaking new ground; the beatniks, with their Bohemian image of berets and black turtlenecks, and the Teddy Boys, from which mod fashion inherited its 'narcissistic and fastidious [fashion] tendencies' and the immaculate dandy look.[55] The Teddy Boys paved the way for making male interest in fashion socially acceptable, because prior to the Teddy Boys, male interest in fashion in Britain was mostly associated with the underground homosexual subculture's flamboyant dressing style.
Royal Air Force roundel, a mod symbol
Jobling and Crowley argue that for working class mods, the subculture's focus on fashion and music was a release from the 'humdrum of daily existence' at their jobs.[52] Jobling and Crowley note that while the subculture had strong elements of consumerism and shopping, mods were not passive consumers; instead they were very self-conscious and critical, customising 'existing styles, symbols and artefacts' such as the Union flag and the Royal Air Force roundel, and putting them on their jackets in a pop art-style, and putting their personal signatures on their style.[10] Mods adopted new Italian and French styles in part as a reaction to the rural and small-town rockers, with their 1950s-style leather motorcycle clothes and American greaser look.[citation needed]
Male mods adopted a smooth, sophisticated look that included tailor-made suits with narrow lapels (sometimes made of mohair), thin ties, button-down collar shirts, wool or cashmere jumpers (crewneck or V-neck), Chelsea or Beatle boots, loafers, Clarks desert boots, bowling shoes, and hairstyles that imitated the look of French Nouvelle Vague film actors.[56] A few male mods went against gender norms by using eye shadow, eye-pencil or even lipstick.[56] Mods chose scooters over motorbikes partly because they were a symbol of Italian style and because their body panels concealed moving parts and made them less likely to stain clothes with oil or road dust. Many mods wore military parkas while driving scooters in order to keep their clothes clean.
Many female mods dressed androgynously, with short haircuts, men's trousers or shirts, flat shoes, and little makeup â often just pale foundation, brown eye shadow, white or pale lipstick and false eyelashes.[57]Miniskirts became progressively shorter between the early and mid-1960s. As female mod fashion became more mainstream, slender models like Jean Shrimpton and Twiggy began to exemplify the mod look. Maverick fashion designers emerged, such as Mary Quant, who was known for her miniskirt designs, and John Stephen, who sold a line named 'His Clothes' and whose clients included bands such as Small Faces.[56] The television programme Ready Steady Go! helped spread awareness of mod fashions to a larger audience. Mod-culture continues to influence fashion, with the ongoing trend for mod-inspired styles such as 3-button suits, Chelsea boots and mini dresses. The Mod Revival of the 80s and 90s led to a new era of mod-inspired fashion, driven by bands such as Madness, The Specials and Oasis. The popularity of the This Is England film and TV series also kept mod fashion in the public eye.[58][circular reference] Today's mod icons include Miles Kane (frontman of the Last Shadow Puppets), cyclist Bradley Wiggins and Paul Weller, 'The ModFather'.
Music[edit]
Pete Townshend of The Who in 1967
The early mods listened to the 'sophisticated smoother modern jazz' of musicians such as Miles Davis, Charlie Parker, Dave Brubeck and the Modern Jazz Quartet, as well as the American rhythm and blues (R&B) of artists such as Bo Diddley and Muddy Waters. The music scene of the Mods was a mix of Modern Jazz, R&B, psychedelic rock and soul.[59] Terry Rawlings writes that mods became 'dedicated to R&B and their own dances.'[11] Black American servicemen, stationed in Britain during the early part of the Cold War, brought over R&B and soul records that were unavailable in Britain, and they often sold these to young people in London.[60] Starting around 1960, mods embraced the off-beat, Jamaicanska music of artists such as the Skatalites, Owen Gray, Derrick Morgan and Prince Buster on record labels such as Melodisc, Starlite and Bluebeat.[61]
The original mods gathered at all-night clubs such as The Flamingo and The Marquee in London to hear the latest records and show off their dance moves. As the mod subculture spread across the United Kingdom, other clubs became popular, including Twisted Wheel Club in Manchester.[62]
The British R&B/rock bands The Rolling Stones, The Yardbirds and The Kinks all had mod followings, and other bands emerged that were specifically mod-oriented.[22] These included The Who, Small Faces, The Creation, The Action, The Smoke and John's Children.[22] The Who's early promotional material tagged them as playing 'maximum rhythm and blues', and a name change in 1964 from The Who to The High Numbers was an attempt to cater even more to the mod market. After the commercial failure of the single 'I'm the Face b/w Zoot Suit', the band changed its name back to The Who.[22] Although The Beatles dressed like mods for a while (after dressing like rockers earlier), their beat music was not as popular as British R&B among mods.[63]
The late 1970s saw an explosive mod revival in England due to the popularity of new wave mod band The Jam and the huge success of the film Quadrophenia in 1979. The Jam were fronted by Paul Weller who became known as 'The Modfather'. Other mod revival bands that emerged at this time were Secret Affair, The Merton Parkas and The Lambrettas.
Amphetamines[edit]
Dexamphetamine tablets
A notable part of the mod subculture was recreational amphetamine use, which was used to fuel all-night dances at clubs like Manchester's Twisted Wheel. Newspaper reports described dancers emerging from clubs at 5 a.m. with dilated pupils.[3] Some mods consumed a combined amphetamine/barbiturate called Drinamyl, which was nicknamed 'purple hearts'.[64] Due to this association with amphetamines, Pete Meaden's 'clean living' aphorism about the mod subculture may seem contradictory, but the drug was still legal in Britain in the early 1960s, and mods used the drug for stimulation and alertness, which they viewed as different from the intoxication caused by alcohol and other drugs.[3] Dr. Andrew Wilson argues that for a significant minority, 'amphetamines symbolised the smart, on-the-ball, cool image' and that they sought 'stimulation not intoxication .. greater awareness, not escape' and 'confidence and articulacy' rather than the 'drunken rowdiness of previous generations.'[3]
Wilson argues that the significance of amphetamines to the mod culture was similar to that of LSD and cannabis within the subsequent hippie counterculture. Dick Hebdige argues that mods used amphetamines to extend their leisure time into the early hours of the morning and as a way of bridging the gap between their hostile and daunting everyday work lives and the 'inner world' of dancing and dressing up in their off-hours.[65]
Scooters[edit]
1963 VBB Standard 150
Many mods drove motor scooters, usually Vespas or Lambrettas.[66] Scooters were a practical and affordable form of transportation for 1960s teens, and in the early 1970s, public transport stopped relatively early in the night. For teens with low-paying jobs, scooters were cheaper and easier to park than cars, and they could be bought through newly-available hire purchase plans.
Vespa with characteristic collection of mirrors
Mods also treated scooters as a fashion accessory. Italian scooters were preferred due to their clean-lined, curving shapes and gleaming chrome, with sale driven by close associations between dealerships and clubs, such as the Ace of Herts.
For young mods, Italian scooters were the 'embodiment of continental style and a way to escape the working-class row houses of their upbringing'.[67] Mods customised their scooters by painting them in 'two-tone and candyflake and overaccessorized [them] with luggage racks, crash bars, and scores of mirrors and fog lights'.[67] Some mods added four, ten, or as many as 30 mirrors to their scooters. They often put their names on the small windscreen. They sometimes took their engine side panels and front bumpers to electroplating shops to get them covered in highly reflective chrome.
Hard mods (who later evolved into the skinheads) began riding scooters more for practical reasons. Their scooters were either unmodified or cutdown, which was nicknamed a 'skelly'.[68] Lambrettas were cutdown to the bare frame, and the unibody (monocoque)-design Vespas had their body panels slimmed down or reshaped.
After the seaside resort brawls, the media began to associate Italian scooters with violent mods. The media described groups of mods riding scooters together as a 'menacing symbol of group solidarity' that was 'converted into a weapon'.[69][70] With events like the 6 November 1966, 'scooter charge' on Buckingham Palace, the scooter, along with the mods' short hair and suits, began to be seen as a symbol of subversion.[71]
Gender roles[edit]
Stuart Hall and Tony Jefferson argue that compared to other youth subcultures, the mod scene gave young women high visibility and relative autonomy.[72] They write that this status may have been related both to the attitudes of the mod young men, who accepted the idea that a young woman did not have to be attached to a man, and to the development of new occupations for young women, which gave them an income and made them more independent. Hall and Jefferson note the increasing number of jobs in boutiques and women's clothing stores, which, while poorly paid and lacking opportunities for advancement, gave young women disposable income, status and a glamorous sense of dressing up and going into town to work.[73]
Hall and Jefferson argue that the presentable image of female mod fashions meant it was easier for young mod women to integrate with the non-subculture aspects of their lives (home, school and work) than for members of other subcultures.[73] The emphasis on clothing and a stylised look for women demonstrated the 'same fussiness for detail in clothes' as their male mod counterparts.[73]
91st academy awards. âRomaâ and âThe Favouriteâ led nominations for the 91st, scoring 10 nods each.
Shari Benstock and Suzanne Ferriss claim that the emphasis in the mod subculture on consumerism and shopping was the 'ultimate affront to male working-class traditions' in the United Kingdom, because in the working-class tradition, shopping was usually done by women.[51] They argue that British mods were 'worshipping leisure and money .. scorning the masculine world of hard work and honest labour' by spending their time listening to music, collecting records, socialising, and dancing at all-night clubs.[51]
Conflicts with rockers[edit]
In early-1960s Britain, the two main youth subcultures were mods and rockers. While mods were seen as 'effeminate, stuck-up, emulating the middle classes, aspiring to a competitive sophistication, snobbish, [and] phony', rockers were seen as 'hopelessly naive, loutish, [and] scruffy', emulating the motorcycle gang members in the film The Wild One, by wearing leather jackets and riding motorcycles.[4][74]Dick Hebdige claims that the 'mods rejected the rocker's crude conception of masculinity, the transparency of his motivations, his clumsiness'; the rockers viewed the vanity and obsession with clothes of the mods as immasculine.[14]
Scholars debate how much contact the two subcultures had during the 1960s. Hebdige argues that mods and rockers had little contact with each other because they tended to come from different regions of England (mods from London and rockers from rural areas), and because they had 'totally disparate goals and lifestyles'.[50] Mark Gilman, however, claims that both mods and rockers could be seen at football matches.[75]
John Covach writes that in the United Kingdom, rockers were often engaged in brawls with mods.[4]BBC News stories from May 1964 stated that mods and rockers were jailed after riots in seaside resort towns on the south and east coasts of England, such as Margate, Brighton, Bournemouth and Clacton.[76] The 'mods and rockers' conflict was explored as an instance of 'moral panic' by sociologist Stanley Cohen in his study Folk Devils and Moral Panics,[5] which examined media coverage of the mod and rocker riots in the 1960s.[6] Although Cohen acknowledges that mods and rockers had some fights in the mid-1960s, he argues that they were no different from the evening brawls that occurred between non-mod and non-rocker youths throughout the 1950s and early 1960s, both at seaside resorts and after football games.[77]
Newspapers of the time were eager to describe the mod and rocker clashes as being of 'disastrous proportions', and labelled mods and rockers as 'sawdust Caesars', 'vermin' and 'louts'.[5] Newspaper editorials fanned the flames of hysteria, such as a Birmingham Post editorial in May 1964 which warned that mods and rockers were 'internal enemies' in the United Kingdom who would 'bring about disintegration of a nation's character'. The magazine Police Review argued that the mods and rockers' purported lack of respect for law and order could cause violence to 'surge and flame like a forest fire'.[5] As a result of this media coverage, two British Members of Parliament travelled to the seaside areas to survey the damage, and MP Harold Gurden called for a resolution for intensified measures to control youth hooliganism. One of the prosecutors in the trial of some of the Clacton brawlers argued that mods and rockers were youths with no serious views, who lacked respect for law and order.
See also[edit]References[edit]
Further reading[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Mod_(subculture)&oldid=903778257'
Mob of the Dead (AKA Alcatraz Island) is the main Zombies map featured in the DLC Pack, Uprising. The map is set in Alcatraz Prison around the 1930's. It features four Hollywood Mob characters: Ray Liotta, Chazz Palminteri, Joey Pantoliano and Michael Madsen.
For a list of Easter Eggs for this map, see the Mob of the Dead Easter Eggs page.
Afterlife Mechanic[edit]
A new feature, or mechanic, for Mob of the Dead is the Afterlife. When downed, or when you interact with a power box, you will be able to enter the Afterlife. While in the afterlife, you can walk, levitate, shoot electricity and revive yourself for up to 60 seconds or shorter. Use the blue symbol at the bottom of the screen as an afterlife length meter. Any longer, and you will go down and will need a team mate to revive you.
Make note: If you down yourself when interacting with a power box, you will keep your perks when you revive. However, if you are downed by zombies, you will lose all perks when revived!
The number at the bottom right corner of the screen will show how many Afterlifes you have left. At the end of each round, one more will be added, up to a max of three. If you have a Afterlife when you get down you automaticly go to Afterlife.
The electricity that you fire does not kill zombies, but teleports them elsewhere. Electricity can also be used to power up volt meters around the map for various utilities. In fact, this is the map's only source of power until you fly over to the bridge. Once someone (or the whole team) makes it to the bridge and Pack-A-Punch machine, all machines will turn on.
Look for doors around the map with the same Afterlife symbol on them. When you enter the afterlife, you will be able to walk through these doors without a problem. Any other doors are impenetrable.
New Creature: Brutus[edit]
Brutus is a new Zombie in Mob of the Dead. It's basically a bigger and stronger version of the normal Zombie. It stomps around, shaking the entire screen, then walks up to a player and hits them like a normal zombie. The damage they do is the same as a normal zombie, but the damage they can take is much more. After killing Brutus, he will drop a Power-Up.
This is a quick map walkthrough for Mob of the Dead. It's a guide on how to get to each part of the map, find all weapons, find all perks, and will be updated with trap upgrade part locations. If you want to know how to accomplish certain achievements or trophies, see the Uprising Achievements and Trophies page. Some of the pages make it much easier to find specific things instead of reading through this whole map walkthrough.
Library / D-Block[edit]
The game starts out all players in the Library and D-Block. You will have to revive yourself while in the Afterlife. Notice the blue doorway with the voltage meter nearby. This doorway is only available while in the Afterlife. When you're alive again, it will be a normal door. Charge the voltage meter inside while in the Afterlife to open the cell with the Double Points Power-Up.
D-Block has the M14 on the wall for 500 points, and the library has the Olympia on the wall for 500 points. Like usual, these are the starting weapons. If you wish to leave the area, you can buy a door at one of the ends for 1000 Points a piece.Only buy them if you have nothing else espcialy the M14!
Both doors lead to the main Cell Block, but they are at completely different ends. The cell block is massive, and leads to other areas of the map and other weapon wall spots.
The door from D-Block (near the M14) will lead to a long hallway. Follow this hall until you reach B-Block. The door from the Library (near the Olympia) will lead directly to C-D Street.
Cell Blocks[edit]
The Cell Block is the big, square area in the middle of the map. It's basically the central point to all other areas. One side is C-D Street, the middle area is known as Broadway, and the far end is known as Michigan. One side between C-D Street and Michigan is called B-Block, and the other side must be A-Block.
B-Block and Michigan[edit]
Taking the path from D-Block will lead to B-Block. The catwalk path ends at a door near the middle of the cell block, which can be purchased for 1000 Points, or you can jump down to the Cafeteria and Showers Doors on the ground floor. The door on the catwalk will take you to the middle of the Cell Block, also known as Broadway.
If you like, you can also jump down off the catwalk (Michigan side) and head towards the other end of the Cell Block â possibly named A-Block. The other end has a door to the Warden's Office and the Citadel Tunnels. The Tunnel's door can be bought for 1500 Points, but the Warden's Office must be opened in the Afterlife. Enter the Afterlife, jump through the symbol above the Warden's Office, follow the path to a volt meter and charge it to lower the Warden's Key above the office. Anyone can then grab the key to open the office and certain other locked boxes or doors around the map.
Across the hall from the Cafeteria door is the MP5 wall spot. Both the door and the MP5 can be bought for 1000 Points each. Scroll down to the Cafeteria header for more info on that room.
To access the Showers, you must enter the Afterlife, go through the door directly to the left of the MP5, and zap a voltage meter to open the door.
Broadway and C-D Street[edit]
Taking the path from the library will lead to C-D Street. It's a small area since everything is blocked off, but it leads directly to the second floor area in the middle of the Cell Block, also known as Broadway.
The second floor Broadway has the B23R wall spot. This weapon can be purchased for 900 Points, which is much cheaper than past maps. Next to it is a door that can be opened for 1000 Points. This door will lead out to the Michigan side of the Cell Block. Information on the doors available on that side is right above this section.
Near the middle area of Broadway is a Hound Emblem. This is one of three locations that go towards Feed the Beast and unlock the Hell's Retriever.
Back towards C-D Street is a set of stairs up to the third floor of C-D Street, Broadway, and Michigan. The only thing towards Michigan is the Gondola. This Gondola can be rode down to the docks for 750 points after the volt meter has been charged up. After it reaches its destination, it can be taken back up to this area for another 750 Points.
The third floor also has a new Perk-A-Cola machine called Electric Cherry. It can be bought for 2000 points, and discharges electricity from the user each time they reload. Behind the machine is a Workbench location.
Follow the path behind the workbench to a door to the Infirmary. This door costs 1000 Points to open.
Warden's Office[edit]
The Warden's Office is located around the Cell Blocks, on the Michigan / A-Block side. The door cannot be bought with points like all other doors. To open this door, enter the Afterlife, jump through the symbol above the Warden's Office, follow the path to a volt meter and charge it to lower the Warden's Key above the office. Anyone can then grab the key to open the office and certain other locked boxes and doors around the map.
With the door open, the Fan Trap can be used for 1000 Points. This activates fan blades at the door which will kill anything that comes into contact with it, or it will just down players.
Further into the office is an Uzi wall spot. Buy this weapon for 1500 Points.
To the right of the Uzi is a door with electricity surging through it. This is the only locked thing in the prison that cannot be immediately unlocked with the Warden's Key. To unlock this, you must go down to the generator room and overload three generators. Behind the electric door is a Plane Part.
In the rooms to the left of the Uzi is a Mystery Box spawn and the Speed Cola machine.
Cafeteria[edit]
The Cafeteria is a room that can be accessed through the B-Block (near MP5) part of the Cell Blocks, or through the Infirmary. There are two doors that can be purchased for 1000 each to reach this area.
After the door to the Cell Block is opened, an Acid Trap can be used for 1000 Points. This will shower acid near the entrance for about 30 seconds. The trap will kill anything that comes into contact with it, or it will just down players.
This is the first area the Mystery Box usually spawn at, but not always. It can be found on the left side of the room.
At the back of the room is both a Claymore and Workbench. The Claymores can be purchased for 1000 Points. This particular Workbench is used to build the Acidgat Kit. This allows players to convert the Blundergat into the Acidgat, unlocking the Acid Drip achievement / trophy. There are three parts that must be built on this specific table:
Infirmary[edit]
The Infirmary can be reached through the Cafeteria or through a door on the second floor of the Cell Block area, right behind the Electric Cherry machine. Each door costs 1000 Points.
The first area is a mix of small rooms, one being covered in tiles. Enter the Afterlife to find an open door in the tile covered room. This door leads up to the roof, where a volt meter can be charged to gain access to the rooftop.
Further into the Infirmary is another Uzi wall spot. It can be purchased for 1500 Points. Near it is another Mystery Box spawn location.
Another Hound Emblem can be found in the same room as the Uzi, just left of another Plane Part in a box. To open this box, you will need the Warden's Key.
The room next to the locked box is another Perk-A-Cola Machine: Deadshot Daiquiri. Charge it up and gain access to it for 1200 Points. At the other end of this room is the set of stairs up to the roof. Another door is also in this area, but it leads down to the Cafeteria, and must be bought with 1000 Points.
Roof[edit]
The roof is a completely empty area. It forms a circle, so it will be hard to get trapped. This is the area the plane must be built for No One Escapes Alive. Build the plane to fly over to the Bridge.
Citadel Tunnels[edit]
The Citadel Tunnels can be accessed via a door on the Michigan side of the Cell Block, or through the Showers. The door from the Cell Block costs 1500 Points to open. Near the entrance is the Double Tap II Root Beer Perk-A-Cola machine.
Right after the perk machine is a wall with three Hound Emblems on it. After feeding all three hounds, this wall will open up, and the Hell's Retriever will be available inside.
Down the hall is the R870 MCS on the wall for 1200 Points. Near the weapon is a room with another Mystery Box spawn. This same room also has a door that leads down to the Docks. This door must be bought for 1000 Points.
Another door at the end of the first set of rooms can be bought for 2000 Points, and leads out to the Showers.
Showers[edit]
The Showers can be accessed in two ways. The first way is through a door for 2000 Points from the Citadel Tunnels. The second way is a bit more complex. When at the B-Block side of the Cell Block, enter the Afterlife and head through a door just to the left of the MP5 spawn. Follow the arrows to a volt meter and charge it up to open the doors to the Showers.
The shower room is a square, medium-sized room. The middle area is completely blocked off, forming a circular path. At one end is an R870 MCS wall spot for 1200 Points. At the other end is a locked gate. Use the Warden's Key to open this gate and access the washing machine. Charge the volt meter near the machine while in the afterlife to get the machine running, then interact with it to start a quick cycle. When the cycle is done, interact with it again to get another Plane Part.
Citadel Tunnels to Docks[edit]
These tunnels are still technically the Citadel Tunnels. It's a semi-long spiral path down to the Docks. At the bottom of the area is a box that can only be unlocked with the Warden's Key. Go into the Afterlife at the top of the spiral stairs and make note of the three numbers on the walls on the way down. Zap each volt meter in the formerly locked box to match the numbers on the walls. This will activate the elevator in the middle of the room. Quickly (you are timed) head down the tunnels and make a left to the elevator opening to grab another Plane Part
At the bottom of the tunnel is a door worth 1000 Points. Open it up to find another Uzi wall spot. Further down are two paths to two doors. One door worth 2000 Points leads to the docks, and the other doors worth 1500 Points leads to the Generator room.
Generator Room Near Docks[edit]
This is a small room with several generators. It can be accessed through the Citadel Tunnels or the Docks. Both set of doors can be purchased for 1500 Points. Inside this room is another MP5 wall spot for 1000 Points.
On the side of the room is a door that can only be entered while in the Afterlife. First, go through this door and shock a generator to overload it, then shock two more generators in the main room to disable the electric barrier on the door in the Warden's Office, allowing you to use the Key to obtain another Plane part.
Docks[edit]
The Docks can be accessed through the Generator Room or through the Citadel Tunnels. The gate from the Tunnels costs 2000 Points to open, but the door through the Generator Room costs 1500 Points to open.
Near the gate is the Jugger-Nog machine. After charging it up, the beverage can be purchased for 2500 Points.
Further ahead of the Perk-A-Cola machine is the Gondola. This can be rode for 750 Points up to the third floor Cell Block, but it must be charged first like all other machines.
Another path down towards the docks is located near the Jugger-Nog machine. A long set of stairs can be taken, or you can jump off a bridge. Near the bottom is a Workbench near the Generator Room's door. This is also the place where the third Hound Emblem is located.
This particular workbench is the place to create the Zombie Shield. There are three parts needed to build this item:
Further down the path is a new weapon on a wall: the M1927. This weapon is the Thompson Submachine Gun with drum magazine. It can be bought for 1500 Points.
To the left of the M1927 is a locked gate. Use the Warden's Key to open this gate, switch to afterlife, zap the volt meter right inside the gate to open another gate, and grab the Plane Part inside the newly opened gate.
The path then makes a U-Turn to a dead end where another trap and Mystery Box spawn is located. This trap is the Tower Trap, and can be activated for 1000 Points. Using this trap will activate automated snipers at the top of the tower. The snipers will headshot several zombies, instantly killing them.
This trap can be upgraded if someone is in the Afterlife after the trap is activated. A Voltage meter will appear above the trap, allowing a player in the Afterlife to charge it. The Sniper fire will change to RPGs when upgraded. If this trap is upgraded, and the other two traps are used in the Warden's Office and Cafeteria before round ten, all players will earn the Trapped in Time achievement / Trophy.
Bridge[edit]
The Bridge is a medium-sized area that can only be accessed after building the Plane on the roof. Get on the plane and fly it over to the bridge where the Pack-A-Punch Machine is located. Beware Brutus spawns more frequently here and sometimes more than one use a ray gun to easily dispatch them. Zombies will still spawn and attack you. After a minute or so, four electric chairs will show up in this area. Use them to return to the Library / D-Block of the Prison with all your weapons and perks intact. The plane can then be refueled by finding gas cans, where the original plane parts are located, and can be used to return to the Bridge.
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Adds 115+ sound effects to the game's dungeons that are played depending on the dungeons' inhabitants.
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