document_title: Boston Tea Party

question_text: who gave the signal for the boston tea party

text: Boston Tea Party

text: Background

text: The Boston Tea Party arose from two issues confronting the British Empire in 1765: the financial problems of the British East India Company; and an ongoing dispute about the extent of Parliament's authority, if any, over the British American colonies without seating any elected representation. The North Ministry's attempt to resolve these issues produced a showdown that would eventually result in revolution.[1]

text: Tea trade to 1767

text: As Europeans developed a taste for tea in the 17th century, rival companies were formed to import the product from China.[2] In England, Parliament gave the East India Company a monopoly on the importation of tea in 1698.[3] When tea became popular in the British colonies, Parliament sought to eliminate foreign competition by passing an act in 1721 that required colonists to import their tea only from Great Britain.[4] The East India Company did not export tea to the colonies; by law, the company was required to sell its tea wholesale at auctions in England. British firms bought this tea and exported it to the colonies, where they resold it to merchants in Boston, New York, Philadelphia, and Charleston.[5]

text: Until 1767, the East India Company paid an ad valorem tax of about 25% on tea that it imported into Great Britain.[6] Parliament laid additional taxes on tea sold for consumption in Britain. These high taxes, combined with the fact that tea imported into the Dutch Republic was not taxed by the Dutch government, meant that Britons and British Americans could buy smuggled Dutch tea at much cheaper prices.[7] The biggest market for illicit tea was England—by the 1760s the East India Company was losing £400,000 per year to smugglers in Great Britain[8]—but Dutch tea was also smuggled into British America in significant quantities.[9]

text: In 1767, to help the East India Company compete with smuggled Dutch tea, Parliament passed the Indemnity Act, which lowered the tax on tea consumed in Great Britain, and gave the East India Company a refund of the 25% duty on tea that was re-exported to the colonies.[10] To help offset this loss of government revenue, Parliament also passed the Townshend Revenue Act of 1767, which levied new taxes, including one on tea, in the colonies.[11] Instead of solving the smuggling problem, however, the Townshend duties renewed a controversy about Parliament's right to tax the colonies.

text: Townshend duty crisis

text: Controversy between Great Britain and the colonies arose in the 1760s when Parliament sought, for the first time, to impose a direct tax on the colonies for the purpose of raising revenue. Some colonists, known in the colonies as Whigs, objected to the new tax program, arguing that it was a violation of the British Constitution. Britons and British Americans agreed that, according to the constitution, British subjects could not be taxed without the consent of their elected representatives. In Great Britain, this meant that taxes could only be levied by Parliament. Colonists, however, did not elect members of Parliament, and so American Whigs argued that the colonies could not be taxed by that body. According to Whigs, colonists could only be taxed by their own colonial assemblies. Colonial protests resulted in the repeal of the Stamp Act in 1766, but in the 1766 Declaratory Act, Parliament continued to insist that it had the right to legislate for the colonies "in all cases whatsoever".

text: When new taxes were levied in the Townshend Revenue Act of 1767, Whig colonists again responded with protests and boycotts. Merchants organized a non-importation agreement, and many colonists pledged to abstain from drinking British tea, with activists in New England promoting alternatives, such as domestic Labrador tea.[12] Smuggling continued apace, especially in New York and Philadelphia, where tea smuggling had always been more extensive than in Boston. Dutied British tea continued to be imported into Boston, however, especially by Richard Clarke and the sons of Massachusetts Governor Thomas Hutchinson, until pressure from Massachusetts Whigs compelled them to abide by the non-importation agreement.[13]

text: Parliament finally responded to the protests by repealing the Townshend taxes in 1770, except for the tea duty, which Prime Minister Lord North kept to assert "the right of taxing the Americans".[14] This partial repeal of the taxes was enough to bring an end to the non-importation movement by October 1770.[15] From 1771 to 1773, British tea was once again imported into the colonies in significant amounts, with merchants paying the Townshend duty of three pence per pound.[16] Boston was the largest colonial importer of legal tea; smugglers still dominated the market in New York and Philadelphia.[17]

text: Tea Act of 1773

text: The Indemnity Act of 1767, which gave the East India Company a refund of the duty on tea that was re-exported to the colonies, expired in 1772. Parliament passed a new act in 1772 that reduced this refund, effectively leaving a 10% duty on tea imported into Britain.[19] The act also restored the tea taxes within Britain that had been repealed in 1767, and left in place the three pence Townshend duty in the colonies. With this new tax burden driving up the price of British tea, sales plummeted. The company continued to import tea into Great Britain, however, amassing a huge surplus of product that no one would buy.[20] For these and other reasons, by late 1772 the East India Company, one of Britain's most important commercial institutions, was in a serious financial crisis.[21] The severe famine in Bengal from 1769 to 1773 had drastically reduced the revenue of the East India Company from India bringing the Company to the verge of bankruptcy and the Tea Act of 1773 was enacted to help the East India Company.

text: Eliminating some of the taxes was one obvious solution to the crisis. The East India Company initially sought to have the Townshend duty repealed, but the North ministry was unwilling because such an action might be interpreted as a retreat from Parliament's position that it had the right to tax the colonies.[22] More importantly, the tax collected from the Townshend duty was used to pay the salaries of some colonial governors and judges.[23] This was in fact the purpose of the Townshend tax: previously these officials had been paid by the colonial assemblies, but Parliament now paid their salaries to keep them dependent on the British government rather than allowing them to be accountable to the colonists.[24]

text: Another possible solution for reducing the growing mound of tea in the East India Company warehouses was to sell it cheaply in Europe. This possibility was investigated, but it was determined that the tea would simply be smuggled back into Great Britain, where it would undersell the taxed product.[25] The best market for the East India Company's surplus tea, so it seemed, was the American colonies, if a way could be found to make it cheaper than the smuggled Dutch tea.[26]

text: The North ministry's solution was the Tea Act, which received the assent of King George on May 10, 1773.[27] This act restored the East India Company's full refund on the duty for importing tea into Britain, and also permitted the company, for the first time, to export tea to the colonies on its own account. This would allow the company to reduce costs by eliminating the middlemen who bought the tea at wholesale auctions in London.[28] Instead of selling to middlemen, the company now appointed colonial merchants to receive the tea on consignment; the consignees would in turn sell the tea for a commission. In July 1773, tea consignees were selected in New York, Philadelphia, Boston, and Charleston.[29]

text: The Tea Act retained the three pence Townshend duty on tea imported to the colonies. Some members of Parliament wanted to eliminate this tax, arguing that there was no reason to provoke another colonial controversy. Former Chancellor of the Exchequer William Dowdeswell, for example, warned Lord North that the Americans would not accept the tea if the Townshend duty remained.[30] But North did not want to give up the revenue from the Townshend tax, primarily because it was used to pay the salaries of colonial officials; maintaining the right of taxing the Americans was a secondary concern.[31] According to historian Benjamin Labaree, "A stubborn Lord North had unwittingly hammered a nail in the coffin of the old British Empire."[32]

text: Even with the Townshend duty in effect, the Tea Act would allow the East India Company to sell tea more cheaply than before, undercutting the prices offered by smugglers, but also undercutting colonial tea importers, who paid the tax and received no refund. In 1772, legally imported Bohea, the most common variety of tea, sold for about 3 shillings (3s) per pound.[33] After the Tea Act, colonial consignees would be able to sell it for 2 shillings per pound (2s), just under the smugglers' price of 2 shillings and 1 penny (2s 1d).[34] Realizing that the payment of the Townshend duty was politically sensitive, the company hoped to conceal the tax by making arrangements to have it paid either in London once the tea was landed in the colonies, or have the consignees quietly pay the duties after the tea was sold. This effort to hide the tax from the colonists was unsuccessful.[35]

text: Resisting the Tea Act

text: In September and October 1773, seven ships carrying East India Company tea were sent to the colonies: four were bound for Boston, and one each for New York, Philadelphia, and Charleston.[36] In the ships were more than 2,000 chests containing nearly 600,000 pounds of tea.[37] Americans learned the details of the Tea Act while the ships were en route, and opposition began to mount.[38] Whigs, sometimes calling themselves Sons of Liberty, began a campaign to raise awareness and to convince or compel the consignees to resign, in the same way that stamp distributors had been forced to resign in the 1765 Stamp Act crisis.[39]

text: The protest movement that culminated with the Boston Tea Party was not a dispute about high taxes. The price of legally imported tea was actually reduced by the Tea Act of 1773. Protesters were instead concerned with a variety of other issues. The familiar "no taxation without representation" argument, along with the question of the extent of Parliament's authority in the colonies, remained prominent.[40] Samuel Adams considered the British tea monopoly to be "equal to a tax" and to raise the same representation issue whether or not a tax was applied to it.[41] Some regarded the purpose of the tax program—to make leading officials independent of colonial influence—as a dangerous infringement of colonial rights.[42] This was especially true in Massachusetts, the only colony where the Townshend program had been fully implemented.[43]

text: Colonial merchants, some of them smugglers, played a significant role in the protests. Because the Tea Act made legally imported tea cheaper, it threatened to put smugglers of Dutch tea out of business.[44] Legitimate tea importers who had not been named as consignees by the East India Company were also threatened with financial ruin by the Tea Act.[45] Another major concern for merchants was that the Tea Act gave the East India Company a monopoly on the tea trade, and it was feared that this government-created monopoly might be extended in the future to include other goods.[46]

text: South of Boston, protesters successfully compelled the tea consignees to resign. In Charleston, the consignees had been forced to resign by early December, and the unclaimed tea was seized by customs officials.[47] There were mass protest meetings in Philadelphia. Benjamin Rush urged his fellow countrymen to oppose the landing of the tea, because the cargo contained "the seeds of slavery".[48] By early December, the Philadelphia consignees had resigned and the tea ship returned to England with its cargo following a confrontation with the ship's captain.[49] The tea ship bound for New York City was delayed by bad weather; by the time it arrived, the consignees had resigned, and the ship returned to England with the tea.[50]

text: Standoff in Boston

text: In every colony except Massachusetts, protesters were able to force the tea consignees to resign or to return the tea to England.[51] In Boston, however, Governor Hutchinson was determined to hold his ground. He convinced the tea consignees, two of whom were his sons, not to back down.[52]

text: When the tea ship Dartmouth[a], arrived in the Boston Harbor in late November, Whig leader Samuel Adams called for a mass meeting to be held at Faneuil Hall on November 29, 1773. Thousands of people arrived, so many that the meeting was moved to the larger Old South Meeting House.[53] British law required Dartmouth to unload and pay the duties within twenty days or customs officials could confiscate the cargo (ie unload it onto American soil).[54] The mass meeting passed a resolution, introduced by Adams and based on a similar set of resolutions promulgated earlier in Philadelphia, urging the captain of Dartmouth to send the ship back without paying the import duty. Meanwhile, the meeting assigned twenty-five men to watch the ship and prevent the tea—including a number of chests from Davison, Newman and Co. of London—from being unloaded.[55]

text: Governor Hutchinson refused to grant permission for Dartmouth to leave without paying the duty. Two more tea ships, Eleanor and Beaver, arrived in Boston Harbor (there was another tea ship headed for Boston, William, but it encountered a storm and put aground at Cape Code - where the tea cargo was successfully landed - before it could reach its destination[56][57]). On December 16—the last day of Dartmouth's deadline—about 7,000 people had gathered around the Old South Meeting House.[58] After receiving a report that Governor Hutchinson had again refused to let the ships leave, Adams announced that "This meeting can do nothing further to save the country." According to a popular story, Adams's statement was a prearranged signal for the "tea party" to begin. However, this claim did not appear in print until nearly a century after the event, in a biography of Adams written by his great-grandson, who apparently misinterpreted the evidence.[59] According to eyewitness accounts, people did not leave the meeting until ten or fifteen minutes after Adams's alleged "signal", and Adams in fact tried to stop people from leaving because the meeting was not yet over.[60]

text: Destruction of the tea

text: While Samuel Adams tried to reassert control of the meeting, people poured out of the Old South Meeting House to prepare to take action. In some cases, this involved donning what may have been elaborately prepared Mohawk costumes.[61] While disguising their individual faces was imperative, because of the illegality of their protest, dressing as Mohawk warriors was a specific and symbolic choice. It showed that the Sons of Liberty identified with America, over their official status as subjects of Great Britain.[62]

text: That evening, a group of 30 to 130 men, some dressed in the Mohawk warrior disguises, boarded the three vessels and, over the course of three hours, dumped all 342 chests of tea into the water.[63] The precise location of the Griffin's Wharf site of the Tea Party has been subject to prolonged uncertainty; a comprehensive study[64] places it near the foot of Hutchinson Street (today's Pearl Street).

text: Reaction

text: Whether or not Samuel Adams helped plan the Boston Tea Party is disputed, but he immediately worked to publicize and defend it.[65] He argued that the Tea Party was not the act of a lawless mob, but was instead a principled protest and the only remaining option the people had to defend their constitutional rights.[66]

text: By "constitution" he referred to the idea that all governments have a constitution, written or not, and that the constitution of Great Britain could be interpreted as banning the levying of taxes without representation. For example, the Bill of Rights of 1689 established that long-term taxes could not be levied without Parliament, and other precedents said that Parliament must actually represent the people it ruled over, in order to "count".

text: Governor Thomas Hutchinson had been urging London to take a hard line with the Sons of Liberty. If he had done what the other royal governors had done and let the ship owners and captains resolve the issue with the colonists, Dartmouth, Eleanor and Beaver would have left without unloading any tea.

text: In Britain, even those politicians considered friends of the colonies were appalled and this act united all parties there against the colonies. The Prime Minister Lord North said, "Whatever may be the consequence, we must risk something; if we do not, all is over".[67] The British government felt this action could not remain unpunished, and responded by closing the port of Boston and putting in place other laws known as the "Coercive Acts." Benjamin Franklin stated that the destroyed tea must be paid for, all ninety thousand pounds (which, at two shillings per pound, came to £9,000, or £1.05 million [2014, approx. $1.7 million US]).[68] Robert Murray, a New York merchant, went to Lord North with three other merchants and offered to pay for the losses, but the offer was turned down.[69]

text: The incident resulted in a similar effect in America when news of the Boston Tea Party reached London in January and Parliament responded with a series of acts known collectively in the colonies as the Intolerable Acts. These were intended to punish Boston for the destruction of private property, restore British authority in Massachusetts, and otherwise reform colonial government in America. Although the first two, the Boston Port Act and the Massachusetts Government Act, applied only to Massachusetts, colonists outside that colony feared that their governments could now also be changed by legislative fiat in England. The Intolerable Acts were viewed as a violation of constitutional rights, natural rights, and colonial charters, and united many colonists throughout America,[70] exemplified by the calling of the First Continental Congress in September 1774.

text: A number of colonists were inspired by the Boston Tea Party to carry out similar acts, such as the burning of Peggy Stewart. The Boston Tea Party eventually proved to be one of the many reactions that led to the American Revolutionary War.[citation needed] In his December 17, 1773 entry in his diary, John Adams wrote:

text: Last Night 3 Cargoes of Bohea Tea were emptied into the Sea. This Morning a Man of War sails.

text: This is the most magnificent Movement of all. There is a Dignity, a Majesty, a Sublimity, in this last Effort of the Patriots, that I greatly admire. The People should never rise, without doing something to be remembered—something notable And striking. This Destruction of the Tea is so bold, so daring, so firm, intrepid and inflexible, and it must have so important Consequences, and so lasting, that I cant but consider it as an Epocha in History.[71]

text: There was a repeat performance on March 7, 1774, but it was much less destructive.[72]

text: In February 1775, Britain passed the Conciliatory Resolution, which ended taxation for any colony that satisfactorily provided for the imperial defense and the upkeep of imperial officers. The tax on tea was repealed with the Taxation of Colonies Act 1778, part of another Parliamentary attempt at conciliation that failed.

text: Legacy

text:
External video

 Booknotes interview with Alfred Young on The Shoemaker and the Tea Party, November 21, 1999, C-SPAN[73]

text: John Adams and many other Americans considered tea drinking to be unpatriotic following the Boston Tea Party. Tea drinking declined during and after the Revolution, resulting in a shift to coffee as the preferred hot drink.[74]

text: According to historian Alfred Young, the term "Boston Tea Party" did not appear in print until 1834.[75] Before that time, the event was usually referred to as the "destruction of the tea". According to Young, American writers were for many years apparently reluctant to celebrate the destruction of property, and so the event was usually ignored in histories of the American Revolution. This began to change in the 1830s, however, especially with the publication of biographies of George Robert Twelves Hewes, one of the few still-living participants of the "tea party", as it then became known.[76]

text: The issue was never the tax but how the tax was passed without American input; United States Congress taxed tea from 1789 to 1872.[77]

text: The Boston Tea Party has often been referenced in other political protests. When Mohandas K. Gandhi led a mass burning of Indian registration cards in South Africa in 1908, a British newspaper compared the event to the Boston Tea Party.[78] When Gandhi met with the British viceroy in 1930 after the Indian salt protest campaign, Gandhi took some duty-free salt from his shawl and said, with a smile, that the salt was "to remind us of the famous Boston Tea Party."[79]

text: American activists from a variety of political viewpoints have invoked the Tea Party as a symbol of protest. In 1973, on the 200th anniversary of the Tea Party, a mass meeting at Faneuil Hall called for the impeachment of President Richard Nixon and protested oil companies in the ongoing oil crisis. Afterwards, protesters boarded a replica ship in Boston Harbor, hanged Nixon in effigy, and dumped several empty oil drums into the harbor.[80] In 1998, two conservative US Congressmen put the federal tax code into a chest marked "tea" and dumped it into the harbor.[81]

text: In 2006, a libertarian political party called the "Boston Tea Party" was founded. In 2007, the Ron Paul "Tea Party" money bomb, held on the 234th anniversary of the Boston Tea Party, broke the one-day fund-raising record by raising $6.04 million in 24 hours.[82] Subsequently, these fund-raising "Tea parties" grew into the Tea Party movement, which dominated politics for the next two years, culminating in a voter victory for the Republicans in 2010 who were widely elected to seats in the United States House of Representatives.

text: Boston Tea Party Ships and Museum

text: The Boston Tea Party Museum is located on the Congress Street Bridge in Boston. It features reenactments, a documentary, and a number of interactive exhibits. The museum features two replica ships of the period, Eleanor and Beaver. Additionally, the museum possesses one of two known tea chests from the original event, part of its permanent collection.[83]

text: Participants

text: Phineas Stearns[84]

tag: ul


document_title: Mock strawberry

question_text: what color are the flowers on a strawberry plant

root

text: Mock strawberry

text:
Mock strawberry

Scientific classification

Kingdom:

Plantae

(unranked):

Angiosperms

(unranked):

Eudicots

(unranked):

Rosids

Order:

Rosales

Family:

Rosaceae

Subfamily:

Rosoideae

Genus:

Duchesnea

Species:

D. indica

Binomial name

Duchesnea indica(Andrews) Th.Wolf

tag: table

text: Duchesnea indica (sometimes called Potentilla indica), known commonly by the names mock strawberry, Indian strawberry, or false strawberry,[1] is a flowering plant in the family Rosaceae. It has foliage and an aggregate accessory fruit similar to that of a true strawberry. It has yellow flowers, unlike the white or slightly pink flowers of true strawberries. It is native to eastern and southern Asia, but has been introduced to many other areas as a medicinal and an ornamental plant.  It has been naturalized in many regions, including parts of the United States.[2][3][4]

tag: p

text: The leaves are trifoliate, roughly veined beneath, dark green, and often persisting through the winter, arising from short crowns. The plant spreads along creeping stolons, rooting and producing crowns at each node. The yellow flowers are produced in mid spring, then sporadically throughout the growing season. The aggregate accessory fruits are white or red, and entirely covered with red achenes, simple ovaries, each containing a single seed. They are edible, but they have little overall flavor.[5]

text: Recent genetic evidence has shown that this genus is better included within Potentilla,[6] but currently most sources still list it in the genus Duchesnea.[7]

text: A poultice of the crushed leaves is used to treat skin ailments such as eczema.[1]

text: Images[edit]

text:
Duchesnea indica  - MHNT

Immature fruit

Blossom


document_title: List of countries by proven oil reserves

question_text: who has the world's largest oil reserves

question_tokens: who has the world 's largest oil reserves

text: Countries[edit]

text: Reserves amounts are listed in millions of barrels (MMbbl).

text:
Proven reserves (millions of barrels)
U.S. EIA (start of 2017)[1]
OPEC (end of 2015)[2]
BP (end of 2015)[3]
Other

Country
Rank
Reserves
Rank
Reserves
Rank
Reserves
Source/Date
Reserves

 Venezuela (see: Oil reserves in Venezuela)
1
300,878
1
300,878
1
300,900

 Saudi Arabia (see: Oil reserves in Saudi Arabia)
2
266,455
2
266,455
2
266,600

 Canada (see: Oil reserves in Canada)
3
169,709
26
4,118[4]
3
172,200
Natural Resources Canada, end 2014[5]
171,000

 Iran (see: Oil reserves in Iran)
4
158,400
3
158,400
4
157,800

 Iraq (see: Oil reserves in Iraq)
5
142,503
4
142,503
5
143,100

 Kuwait (see: Oil reserves in Kuwait)
6
101,500
5
101,500
7
101,500

 UAE (see: Oil reserves in the United Arab Emirates)
7
97,800
6
97,800
8
97,800

 Russia (see: Oil reserves in Russia)
8
80,000
7
80,000
6
102,400

 Libya (see: Oil reserves in Libya)
9
48,363
8
48,363
10
48,400

 United States (see: Oil reserves in the United States)
10
39,230
10
36,685
9
55,000
ENI, end of 2015[6]
43,629

 Nigeria (see: Oil reserves in Nigeria)
11
37,062
9
37,062
11
37,100

 Kazakhstan
12
30,000
11
30,000
12
30,000

 China
13
25,620
13
25,132
14
18,500

 Qatar
14
25,244
12
25,244
13
25,244

 Brazil
15
12,999
14
16,184
15
13,000
ENI, end of 2015[6]
16,848

 Algeria
16
12,200
15
12,200
17
12,200

 Angola
17 / 18
8,273
17
9,524
16
12,700

 Ecuador
17 / 18
8,273
18
8,273
19 / 20
8,000

 Mexico (see: Oil reserves in Mexico)
19
7,640
16
9,711
18
10,800
PEMEX[7] Start of 2015
9.700

 Azerbaijan
20
7,000
19
7,000
21
7,000

 Norway
21
6,611
33
5,139
19 / 20
8,000

 Oman
22
5,373
21
5,306
23
5,300

 India
23
4,621
20
5,680
22
5,680
ENI, end of 2015[6]
5,692

 Sudan/South Sudan
24
5,000
32
5,000
24
Sudan 1,500 / S. Sudan 3,500

 Vietnam
25 / 26
4,400
24 / 25
4,400
25
4,000

 Egypt
25 / 26
4,400
24 / 25
4,400
29
3,500

 Malaysia
27
3,600
28
3,750
27 / 28
3,600
ENI, end of 2015[6]
5,542

 Indonesia
28
3,230
29
3,230
27 28
3,600
ENI, end of 2015[6]
3,497

 Yemen
29
3,000

30
3,000

 United Kingdom
30
2,564
30
2,755
31
2,800
UK Oil & Gas Authority, end 2015[8]
2,618

 Syria
31 / 32
2,500
31
2,500
32
2,500

 Uganda
31 / 32
2,500

 Argentina
33
2,185
32
2,380
33
2,400
Argentine Petroleum Institute[9]
2,330

 Colombia
34
2,002
33
2,308
34
2,300

 Gabon
35
2,000
34
2,000
35
2,000

 Congo, Republic of the (Brazzaville)
36
1,600

36
1,600

 Australia
37
1,821
27
3,982
26
4,000
Geoscience Australia[10] end of 2014
4,002

 Chad
38
1,500

37
1,500

 Brunei
39 / 40
1,100
35
1,100
39 / 40
1,100

 Equatorial Guinea
39 / 40
1,100

39 / 40
1,100

 Peru
41
473

38
1,400
ENI, end of 2015[6]
1,489

 Trinidad and Tobago
42
243

41
700
ENI, end of 2015[6]
830

 Ghana (see: Oil reserves in Ghana)
43
660

 Turkmenistan
44 / 45
600
36
600
42 / 46
600

 Romania
44 / 45
600

42 / 46
600

 Uzbekistan
46
594
37
594
42 / 46
600

 Italy
47
557

42 / 46
600
ENI, end of 2015[6]
595

 Denmark
48
491
38
511
42 / 46
600
ENI, end of 2015[6]
550

 Tunisia
49
425

47 / 48
400

 Thailand
50
396

47 / 48
400

 Ukraine
51
395
39
395

 Turkey
52
389

ENI, end of 2015[6]
284

 Pakistan
53
350

ENI, end of 2015[6]
236

 Bolivia
54
211

ENI, end of 2015[6]
210

 Cameroon
55
200

 Belarus
56
198
40
198

 Congo, Democratic Republic of the (Kinshasa)
57
180

 Albania
58
168

 Papua New Guinea
59
159

ENI, end of 2015[6]
158

 Chile
60 / 61
150

 Niger
60 / 61
150

 Spain
60 / 61
150

 Germany
62
145

ENI, end of 2015[6]
229

 Philippines
63 / 64
139

 Myanmar
63 / 64
139

 Poland
65
138

ENI, end of 2015[6]
151

 Bahrain
66
125

 Cuba (see: Oil reserves in Cuba)
67
124

ENI, end of 2015[6]
124

 Netherlands
68
113

ENI, end of 2015[6]
141

 Ivory Coast
69
100

 Suriname
70
83.9

 Guatemala
71
83.1

 France
72
72.4

 Serbia
73
77.5

 Croatia
74
71.0

 New Zealand
75
56.9

 Japan
76
44.1

 Austria
77
43.0

 Kyrgyzstan
78
40.0

 Georgia
79
35.0

 Bangladesh
80
28.0

 Hungary
81
25.1

ENI, end of 2015[6]
35

 Mauritania
82
20.0

 Bulgaria
83 / 85
15.0

 Czech Republic
83 / 85
15.0

 South Africa
83 / 85
15.0

 Israel
86
12.7

ENI, end of 2015[6]
12

 Lithuania
87 / 88
12.0

 Tajikistan
87 / 88
12.0

 Greece
89
10.0

 Slovakia
90
9.00

 Benin
91
8.00

 Belize
92
6.70

 Taiwan
93
2.38

 Barbados
94
2.08

 Jordan
95
1.00

ENI, end of 2015[6]
1

 Morocco
96
0.68

 Ethiopia
97
0.43

 Afghanistan

0

US Geological Survey[11]
80

World total

1,726,685

1,481,526

1,697,600

text: Different sources[edit]

text: Sources sometimes differ on the volume of proven oil reserves. The differences sometimes result from different classes of oil included, and sometimes result from different definitions of proven.

text: Comparison of proven oil reserves from some widely used sources (billions of barrels, as of 31 Dec. 2014/1 Jan. 2015)

text:
Source
Canada
Iran
Russia
Saudi Arabia
United States
Venezuela

BP[12]
172.9
157.8
103.2
267.0
48.5
298.3

OPEC[13]
4.2[4]
157.5
80.0
266.6
36.5
300.0

US Central Intelligence Agency[14]
171.0
157.8
103.2
268.3
36.5
298.4

US Energy Information Administration[15]
172.5
157.8
80.0
268.3
39.9
298.4


document_title: Waterfall

question_text: where does the water come from for yosemite falls

text: Waterfall

text: Formation[edit]

text: Waterfalls are commonly formed in the upper course of a river[1] in steep mountains. Because of their landscape position, many waterfalls occur over bedrock fed by little contributing area, so they are ephemeral and only occur during rainstorms. The further downstream, the more perennial a waterfall can be. It is even possible for waterfalls to occur far downstream due to transient discontinuities in a river's longitudinal profile caused by climatic changes and anthropogenic activities. Waterfalls can have a wide range of widths and depths, and this diversity is part of what makes them such a charismatic and interesting natural phenomenon. Research into the diversity of natural waterfalls systematics has been carried out in recent years.[2][3]

text: When the river courses over resistant bedrock, erosion happens slowly and is dominated by impacts of water-borne sediment on the rock, while downstream the erosion occurs more rapidly.[1][4] As the watercourse increases its velocity at the edge of the waterfall, it may pluck material from the riverbed, if the bed is fractured or otherwise more erodable. Hydraulic jets and hydraulic jumps at the toe of a falls can generate large forces to erode the bed[5], especially when forces are amplified by water-borne sediment. Horseshoe-shaped falls focus the erosion to a central point, also enhancing riverbed change below a waterfalls[6]. A process known as "potholing" involves local erosion of a potentially deep hole in bedrock due to turbulent whirlpools spinning stones around on the bed, drilling it out. Sand and stones carried by the watercourse therefore increase erosion capacity.[1] This causes the waterfall to carve deeper into the bed and to recede upstream. Often over time, the waterfall will recede back to form a canyon or gorge downstream as it recedes upstream, and it will carve deeper into the ridge above it.[7] The rate of retreat for a waterfall can be as high as one and half meters per year.[1]

text: Often, the rock stratum just below the more resistant shelf will be of a softer type, meaning that undercutting due to splashback will occur here to form a shallow cave-like formation known as a rock shelter under and behind the waterfall. Eventually, the outcropping, more resistant cap rock will collapse under pressure to add blocks of rock to the base of the waterfall. These blocks of rock are then broken down into smaller boulders by attrition as they collide with each other, and they also erode the base of the waterfall by abrasion, creating a deep plunge pool in the gorge downstream.

text: Streams can become wider and shallower just above waterfalls due to flowing over the rock shelf, and there is usually a deep area just below the waterfall because of the kinetic energy of the water hitting the bottom. However, a study of waterfalls systematics reported that waterfalls can be wider or narrower above or below a falls, so almost anything is possible given the right geological and hydrological setting.[3] Waterfalls normally form in a rocky area due to erosion. After a long period of being fully formed, the water falling off the ledge will retreat, causing a horizontal pit parallel to the waterfall wall. Eventually, as the pit grows deeper, the waterfall collapses to be replaced by a steeply sloping stretch of river bed.[1] In addition to gradual processes such as erosion, earth movement caused by earthquakes or landslides or volcanoes can cause a differential in land heights which interfere with the natural course of a water flow, and result in waterfalls.

text: A river sometimes flows over a large step in the rocks that may have been formed by a fault line. Waterfalls can occur along the edge of a glacial trough, where a stream or river flowing into a glacier continues to flow into a valley after the glacier has receded or melted. The large waterfalls in Yosemite Valley are examples of this phenomenon, which is referred to as a hanging valley. Another reason hanging valleys may form is where two rivers join and one is flowing faster than the other.[1] Waterfalls can be grouped into ten broad classes based on the average volume of water present on the fall (which depends on both the waterfall's average flow and its height) using a logarithmic scale. Class 10 waterfalls include Niagara Falls, Paulo Afonso Falls and Khone Falls.

text: Classes of other well-known waterfalls include Victoria Falls and Kaieteur Falls (Class 9); Rhine Falls and Gullfoss (Class 8); Angel Falls and Dettifoss (Class 7); Yosemite Falls, Lower Yellowstone Falls and Umphang Thee Lor Sue Waterfall (Class 6); Sutherland Falls (Class 5).[9]

text: Researchers[edit]

text: Alexander von Humboldt (1820's) "Father of Modern Geography" Humboldt was mostly marking waterfalls on maps for river navigation purposes

text: Oscar von Engeln (1930's) Published "Geomorphology: systematic and regional", this book had a whole chapter devoted to waterfalls, and is one of the earliest examples of published works on waterfalls.

text: R.W. Young (1980's) Wrote "Waterfalls: form and process" this work made waterfalls a much more serious topic for research for modern Geoscientists. [10]

text: Types[edit]

text:
Ledge waterfall: Water descends vertically over a vertical cliff, maintaining partial contact with the bedrock.[11]

Block/Sheet: Water descends from a relatively wide stream or river.[4][11]
Classical: Ledge waterfalls where fall height is nearly equal to stream width, forming a vertical square shape.[4]
Curtain: Ledge waterfalls which descend over a height larger than the width of falling water stream.[4]

Plunge: Fast moving water descends vertically, losing complete contact with the bedrock surface.[11] The contact is typically lost due to horizontal thrust of the water before it falls. It always starts from a narrow stream.

Punchbowl: Water descends in a constricted form and then spreads out in a wider pool.[11]

Horsetail: Descending water maintains contact with bedrock most of the time.[11]

Slide: Water glides down maintaining continuous contact.[11]
Ribbon: Water descends over a long narrow strip.[11]
Chute: A large quantity of water forced through a narrow, vertical passage.[11]
Fan: Water spreads horizontally as it descends while remaining in contact with bedrock.[11]

Cascade: Water descends a series of rock steps.[4][11]
Tiered/Multi-step/Staircase: A series of waterfalls one after another of roughly the same size each with its own sunken plunge pool.[11]
Cataract: A large, powerful waterfall.[11]
Segmented: Distinctly separate flows of water form as it descends.[11]
Catadupa: A cataract or waterfall, originally those of the Nile. The term catadupae refers to people inhabiting near such cataracts; there are suppositions that these people are deaf due to the constant din.[12]
Frozen: Any waterfall which has some element of ice or snow.[11]
Moulin: A moulin is a waterfall in a glacier

text: Examples[edit]

text: Significant waterfalls,[13] listed alphabetically:

text:
Angel Falls in Venezuela is the world's tallest above-water waterfall at 979 metres (3,212 ft).
Aysgarth Falls in the Yorkshire Dales, England - which provided inspiration for Ruskin, Turner and Wordsworth.
Ban Gioc–Detian Falls, a transnational waterfall on the border between China and Vietnam.
Bridalveil Fall in Yosemite Valley is 189 metres (620 ft) high with a sheer drop.
Cumberland Falls in Kentucky is one of several falls in the world at which a moonbow is visible.
Dettifoss in northeast Iceland is the largest waterfall in Europe in terms of volume discharge, having an average water flow of 200 m³/s.The falls are 100 metres (330 ft) wide and have a drop of 44 metres (144 ft) down to the Jökulsárgljúfur canyon.
Eas a' Chual Aluinn in Scotland, at 200 metres (660 ft), the highest waterfall in the United Kingdom.
Falls of Lora, also in Scotland, is an unusual rapids in the sea that is created when the waters in Loch Etive pour out through the narrow mouth of the loch over a rocky shelf.[14]
Gocta, the sixteenth tallest in the world at 771 metres (2,530 ft), is located in the province of Chachapoyas, Peru.
Huangguoshu Waterfall in Anshun, Guizhou, China, is the largest waterfall in East Asia.

Aerial view of Iguazu Falls on the Iguazu River between Brazil and Argentina

Iguazu Falls is an extensive series of waterfalls along a 2.7-km (1.7-mile) stretch of escarpment on the Argentina-Brazil border.
James Bruce Falls, the tallest waterfall in North America at 840 metres (2,760 ft), is located in the Princess Louisa Marine Provincial Park, British Columbia, Canada.
Jiao Lung Waterfall in Alishan, Chiayi, Taiwan, is the tallest waterfall in East Asia at 600 metres (2,000 ft).
Jog Falls in Karnataka, India, is the second-highest plunge waterfall in India.
Kaieteur Falls (Potaro River in central Guyana), located in the Kaieteur National Park, is 226 metres (741 ft).

Aerial view of Niagara Falls in the state of New York, US, and province of Ontario, Canada

Niagara Falls are the widest, most powerful falls in North America.
Nohkalikai Falls is India's tallest plunge waterfall, located in Meghalaya state, India.
Pissing Mare Falls, at 350 metres (1,150 ft), is one of the tallest waterfalls in eastern North America.
Ramnefjellsfossen in Stryn, Nesdalen, Norway, is the world's third tallest waterfall at 808 metres (2,651 ft).
Reichenbach Falls in Switzerland, a sequence of two waterfalls totaling 120 metres (390 ft) in height, were the site of the disappearance and purported death of fictional detective Sherlock Holmes in the story "The Final Problem".

Aerial view of Rhine Falls in Switzerland

Rhine Falls near Schaffhausen, Switzerland, are among the largest in Europe, at 150 metres (490 ft) wide.
Ribbon Fall, a seasonal waterfall in Yosemite National Park, is the highest single-drop fall in North America, at 1,612 feet (491 m).
Shir-Abad Waterfall is located near Khan Bebin in Golestan Province, Iran.
Shoshone Falls in Idaho has been termed the "Niagara of the West".
St.Clair's Falls, Sri Lanka's widest waterfall, is 265 feet (81 m) tall.
Takakkaw Falls, 384 metres (1,260 ft) high, are in Yoho National Park in Canada.
Tequendama Falls is a 132-metre (433 ft) waterfall on the Bogotá River, about 30 kilometres (19 mi) southwest of Bogotá in Colombia.
Tugela Falls is the world's second tallest at 947 metres (3,107 ft) in KwaZulu-Natal province, Republic of South Africa.
Venta Rapid in Latvia, said to be Europe's widest waterfall, is more than 800 feet (240 m) wide but only about 6 feet (1.8 m) high.
Victoria Falls, on the Zambezi river along the border between Zimbabwe and Zambia, is among the largest waterfalls in the world. During periods of high flow, it creates an unbroken sheet of water more than a mile wide.
Virginia Falls (Northwest Territories) on South Nahanni River, Northwest Territories, Canada. World's 14th largest waterfall located in Nahanni National Park Reserve a UNESCO World Heritage Site.
Waihilau Falls, at 792 metres (2,598 ft), is located in the Waimanu Valley, Hawaii, United States.
Yosemite Falls, 739 metres (2,425 ft), located in Yosemite National Park, United States.
Yumbilla Falls is the world's fifth tallest waterfall and located in Peru.

text: Image gallery[edit]

text:
Huangguoshu Waterfall in Guizhou province, China, is a block-type waterfall and a cataract.

Song Khon Waterfall in Loei Province, Thailand is an example of a cascade waterfall.

Gullfoss, an iconic waterfall of Iceland.

In Pamukkale, Turkey is an example of travertine terraces built by flowing water.

Powerscourt Waterfall, near Enniskerry, Wicklow County, Ireland, is an example of a horsetail waterfall.

First fall of Elephant Falls in Shillong, India, is an example of a horsetail-punchbowl waterfall.

Wallaman Falls in Queensland, Australia, is an example of a plunge waterfall.

Sempervirens Falls in California, USA, is an example of a plunge-punchbowl waterfall.

Several of the scores of waterfalls of various types at Plitvice Lakes, Croatia

Saint Anthony Falls in Minneapolis, Minnesota, USA, is a natural waterfall modified with spillway, dams, and locks to allow commercial navigation on the river.

Waterfall Cairns, Australia

Ruby Falls is an underground waterfall within a cave in Tennessee, USA.

Alamere Falls is a tidefall—a waterfall flowing directly into the ocean—in California, USA.

Waterfall in Australia

Seljalandsfoss, Suðurland, Iceland


document_title: Roman sculpture

question_text: who were the subjects of most roman sculptures

text: Roman sculpture

text: Development[edit]

text: Early Roman art was influenced by the art of Greece and that of the neighbouring Etruscans, themselves greatly influenced by their Greek trading partners. An Etruscan speciality was near life size tomb effigies in terracotta, usually lying on top of a sarcophagus lid propped up on one elbow in the pose of a diner in that period. As the expanding Roman Republic began to conquer Greek territory, at first in Southern Italy and then the entire Hellenistic world except for the Parthian far east, official and patrician sculpture became largely an extension of the Hellenistic style, from which specifically Roman elements are hard to disentangle, especially as so much Greek sculpture survives only in copies of the Roman period.[3] By the 2nd century BCE, "most of the sculptors working at Rome" were Greek,[4] often enslaved in conquests such as that of Corinth (146 BCE), and sculptors continued to be mostly Greeks, often slaves, whose names are very rarely recorded. Vast numbers of Greek statues were imported to Rome, whether as booty or the result of extortion or commerce, and temples were often decorated with re-used Greek works.[5]

text: A native Italian style can be seen in the tomb monuments of prosperous middle-class Romans, which very often featured portrait busts, and portraiture is arguably the main strength of Roman sculpture. There are no survivals from the tradition of masks of ancestors that were worn in processions at the funerals of the great families and otherwise displayed in the home, but many of the busts that survive must represent ancestral figures, perhaps from the large family tombs like the Tomb of the Scipios or the later mausolea outside the city. The famous "Capitoline Brutus", a bronze head supposedly of Lucius Junius Brutus is very variously dated, but taken as a very rare survival of Italic style under the Republic, in the preferred medium of bronze.[6] Similarly stern and forceful heads are seen in the coins of the consuls, and in the Imperial period coins as well as busts sent around the Empire to be placed in the basilicas of provincial cities were the main visual form of imperial propaganda; even Londinium had a near-colossal statue of Nero, though far smaller than the 30 metre high Colossus of Nero in Rome, now lost.[7] The Tomb of Eurysaces the Baker, a successful freedman (c. 50-20 BC) has a frieze that is an unusually large example of the "plebeian" style.[8]

text: The Romans did not generally attempt to compete with free-standing Greek works of heroic exploits from history or mythology, but from early on produced historical works in relief, culminating in the great Roman triumphal columns with continuous narrative reliefs winding around them, of which those commemorating Trajan (CE 113) and Marcus Aurelius (by 193) survive in Rome, where the Ara Pacis ("Altar of Peace", 13 BCE) represents the official Greco-Roman style at its most classical and refined. Among other major examples are the earlier re-used reliefs on the Arch of Constantine and the base of the Column of Antoninus Pius (161),[9] Campana reliefs were cheaper pottery versions of marble reliefs and the taste for relief was from the imperial period expanded to the sarcophagus.

text: All forms of luxury small sculpture continued to be patronized, and quality could be extremely high, as in the silver Warren Cup, glass Lycurgus Cup, and large cameos like the Gemma Augustea, Gonzaga Cameo and the "Great Cameo of France".[10] For a much wider section of the population, moulded relief decoration of pottery vessels and small figurines were produced in great quantity and often considerable quality.[11]

text: After moving through a late 2nd century "baroque" phase,[12] in the 3rd century, Roman art largely abandoned, or simply became unable to produce, sculpture in the classical tradition, a change whose causes remain much discussed. Even the most important imperial monuments now showed stumpy, large-eyed figures in a harsh frontal style, in simple compositions emphasizing power at the expense of grace. The contrast is famously illustrated in the Arch of Constantine of 315 in Rome, which combines sections in the new style with roundels in the earlier full Greco-Roman style taken from elsewhere, and the Four Tetrarchs (c. 305) from the new capital of Constantinople, now in Venice. Ernst Kitzinger found in both monuments the same "stubby proportions, angular movements, an ordering of parts through symmetry and repetition and a rendering of features and drapery folds through incisions rather than modelling... The hallmark of the style wherever it appears consists of an emphatic hardness, heaviness and angularity — in short, an almost complete rejection of the classical tradition".[13]

text: This revolution in style shortly preceded the period in which Christianity was adopted by the Roman state and the great majority of the people, leading to the end of large religious sculpture, with large statues now only used for emperors, as in the famous fragments of a colossal acrolithic statue of Constantine, and the 4th or 5th century Colossus of Barletta. However rich Christians continued to commission reliefs for sarcophagi, as in the Sarcophagus of Junius Bassus, and very small sculpture, especially in ivory, was continued by Christians, building on the style of the consular diptych.[14]

text:
Etruscan sarcophagus, 3rd century BCE

The "Capitoline Brutus", probably late 4th to early 3rd century BC, possibly 1st century BC.[15]

A Roman naval bireme depicted in a relief from the Temple of Fortuna Primigenia in Praeneste (Palastrina),[16] which was built c. 120 BC;[17] exhibited in the Pius-Clementine Museum (Museo Pio-Clementino) in the Vatican Museums.

The Patrician Torlonia bust, believed to be of Cato the Elder. 1st century BC

The Orator, c. 100 BC, an Etrusco-Roman bronze statue depicting Aule Metele (Latin: Aulus Metellus), an Etruscan man wearing a Roman toga while engaged in rhetoric; the statue features an inscription in the Etruscan alphabet

Scipio Africanus, bronze bust, mid 1st century BC

The so-called "Togatus Barberini", a statue depicting a Roman senator holding portrait effigies (possibly imagines) of deceased ancestors; marble, late 1st century BC; head (not belonging): mid 1st century BC.

The Grave relief of Publius Aiedius and Aiedia, 30 BC, Pergamon Museum (Berlin)

Arles bust, marble bust found in the Rhone River near Arles, c. 46 BC

Roman, Republican or Early Imperial, Relief of a seated poet (Menander) with masks of New Comedy, 1st century BC – early 1st century AD, Princeton University Art Museum

Augustus of Prima Porta, statue of the emperor Augustus, 1st century CE. Vatican Museums

The cameo gem known as the "Great Cameo of France", c. 23 CE, with an allegory of Augustus and his family

Bust of Emperor Claudius, c. 50 CE, (reworked from a bust of emperor Caligula), It was found in the so-called Otricoli basilica in Lanuvium, Italy, Vatican Museums

The so-called "Venus in a bikini", from the House of Julia Felix, Pompeii, Italy actually depicts her Greek conterpart Aphrodite as she is about to untie her sandal, with a small Eros squating beneath her left arm

Tomb relief of the Decii, 98–117 CE

Statue of Mars from the Forum of Nerva, early 2nd century AD, based on an Augustan-era original that in turn used a Hellenistic Greek model of the 4th century BC, Capitoline Museums[18]

Polychrome marble statue depicting the goddess Tyche holding the infant Plutus in her arms, 2nd century AD, Istanbul Archaeological Museum

Statue of Antinous (Delphi), depicting Antinous, polychrome Parian marble, made during the reign of Hadrian (r. 117-138 AD)

Ancient bust of Roman emperor Lucius Verus (r. 161-169), a natural blond who would sprinkle gold dust in his hair to make it even blonder,[19] Bardo National Museum, Tunis

Remnants of a Roman bust of a youth with a blond beard, perhaps depicting Roman emperor Commodus (r. 177-192), National Archaeological Museum, Athens

Commodus dressed as Hercules, c. 191 CE, in the late imperial "baroque" style

Marcus Aurelius receiving the submission of vanquished foes from the Marcomannic Wars, a relief from his now destroyed triumphal arch in Rome, Capitoline Museums, 177-180 AD

Private portrait with both individualized and unforgiving naturalism and stylized influence of portraits of the emperors Hadrian and Antoninus Pius in his beard and hairstyle.

Ancient Roman statue of Isis, in the Collection of Greek and Roman Antiquities in the Kunsthistorisches Museum, Vienna; first half of the 2nd century AD, found in Naples, Italy; made out of black and white marble.

Marble table support adorned by a group including Dionysos, Pan and a Satyr; Dionysos holds a rhyton in the shape of a panther; traces of red and yellow colour are preserved on the hair of the figures and the branches; from an Asia Minor workshop, 170-180 AD, National Archaeological Museum, Athens, Greece

The Farnese Hercules, probably an enlarged copy made in the early 3rd century AD and signed by a certain Glykon, from an original by Lysippos (or one of his circle) that would have been made in the 4th century BC; The copy was made for the Baths of Caracalla in Rome (dedicated in 216 AD), where it was recovered in 1546

Ancient Roman statue of emperor Balbinus, dating from 238 AD, on display in the Archaeological Museum of Piraeus (Athens)

Bronze of Trebonianus Gallus dating from the time of his reign as Roman Emperor, the only surviving near-complete full-size 3rd-century Roman bronze (Metropolitan Museum of Art)[20]

The Four Tetrarchs, c. 305, showing the new anti-classical style, in porphyry, now San Marco, Venice

Head and other fragments of Constantine I from a colossal bronze statue, early 4th century AD, Musei Capitolini (Rome)

A marble portrait bust of a Roman matron, early 4th century AD, Hermitage Museum, St. Petersburg

Bust depicting an idealized portrait of Menander of Ephesus, 4th century AD, Ephesus Archaeological Museum

Detail of a sarcophagus depicting the Christian belief in the multiplication of bread loaves and fish by Jesus Christ, c. 350-375 AD, Vatican Museums

A Roman bust depicting either Valens or Honorius; marble, ca. 400 AD

Honorius on the consular diptych of Anicius Petronius Probus (406 AD)

Stone-carved relief depicting the liberation of a besieged city by a relief force, with those defending the walls making a sortie (i.e. a sudden attack against a besieging enemy from within the besieged town); Western Roman Empire, early 5th century AD

Portrait of an unknown man, found in the Agora of Athens, dating from around 400-450 AD; National Archaeological Museum, Athens

Bust of Eastern Roman Emperor Theodosius II (r. 408–450 AD); marble, 5th century AD

Bust of an Eastern Roman lady (Galla Placidia?) in the Musée Saint-Raymond de Toulouse, 5th century AD

Bust of an unknown orator or philosopher from Tartus, now in the Louvre, 5th century AD

text: Portraiture[edit]

text: Portraiture is a dominant genre of Roman sculpture, growing perhaps from the traditional Roman emphasis on family and ancestors; the entrance hall (atrium) of a Roman elite house displayed ancestral portrait busts. During the Roman Republic, it was considered a sign of character not to gloss over physical imperfections, and to depict men in particular as rugged and unconcerned with vanity: the portrait was a map of experience. During the Imperial era, more idealized statues of Roman emperors became ubiquitous, particularly in connection with the state religion of Rome. Tombstones of even the modestly rich middle class sometimes exhibit portraits of the otherwise unknown deceased carved in relief.

text: Among the many museums with examples of Roman portrait sculpture, the collections of the Metropolitan Museum of Art in New York and the British Museum in London are especially noteworthy.

text: Religious and funerary art[edit]

text: Religious art was also a major form of Roman sculpture. A central feature of a Roman temple was the cult statue of the deity, who was regarded as "housed" there (see aedes). Although images of deities were also displayed in private gardens and parks, the most magnificent of the surviving statues appear to have been cult images. Roman altars were usually rather modest and plain, but some Imperial examples are modeled after Greek practice with elaborate reliefs, most famously the Ara Pacis, which has been called "the most representative work of Augustan art."[21] Small bronze statuettes and ceramic figurines, executed with varying degrees of artistic competence, are plentiful in the archaeological record, particularly in the provinces, and indicate that these were a continual presence in the lives of Romans, whether for votives or for private devotional display at home or in neighborhood shrines. These typically show more regional variation in style than large and more official works, and also stylistic preferences between different classes.[22]

text: Roman marble sarcophagi mostly date from the 2nd to the 4th century CE,[23] after a change in Roman burial customs from cremation to inhumation, and were mostly made in a few major cities, including Rome and Athens, which exported them to other cities. Elsewhere the stela gravestone remained more common. They were always a very expensive form reserved for the elite, and especially so in the relatively few very elaborately carved examples; most were always relatively plain, with inscriptions, or symbols such as garlands. Sarcophagi divide into a number of styles, by the producing area. "Roman" ones were made to rest against a wall, and one side was left uncarved, while "Attic" and other types were carved on all four sides; but the short sides were generally less elaborately decorated in both types.[24]

text: The time taken to make them encouraged the use of standard subjects, to which inscriptions might be added to personalize them, and portraits of the deceased were slow to appear. The sarcophagi offer examples of intricate reliefs that depict scenes often based on Greek and Roman mythology or mystery religions that offered personal salvation, and allegorical representations. Roman funerary art also offers a variety of scenes from everyday life, such as game-playing, hunting, and military endeavors.[25]

text: Early Christian art quickly adopted the sarcophagus, and they are the most common form of early Christian sculpture, progressing from simple examples with symbols to elaborate fronts, often with small scenes of the Life of Christ in two rows within an architectural framework. The Sarcophagus of Junius Bassus (c. 359) is of this type, asnd the earlier Dogmatic Sarcophagus rather simpler. The huge porphyry Sarcophagi of Helena and Constantina are grand Imperial examples.

text: Scenes from Roman sarcophagi

text:
Scenes of Orphic religion (2nd century)

Portonaccio sarcophagus with a battle

Dionysus riding a panther and accompanied by attendants, 220-230 AD

Children playing with nuts (3rd century)

Sarcophagus with the Calydonian hunt, Palazzo dei Senatori - Musei Capitolini, Rome.

Sarcophagus with the Four Seasons allegory
(3rd century), Palazzo dei Senatori - Musei Capitolini, Rome.

Sarcophagus of the Quinta Flavia Severina, Palazzo dei Senatori - Musei Capitolini, Rome.

Early Christian marble sarcophagus with a high-relief representing scenes from the Old and the New Testament, c. 310 AD

Cast of Christ's trial before Pilate, with Pilate about to wash his hands. Detail from the Early Christian Sarcophagus of Junius Bassus (d. 359)

text: Gardens and baths[edit]

text: A number of well-known large stone vases sculpted in relief from the Imperial period were apparently mostly used as garden ornaments; indeed many statues were also placed in gardens, both public and private. Sculptures recovered from the site of the Gardens of Sallust, opened to the public by Tiberius, include:

text:
the Obelisco Sallustiano, a Roman copy of an Egyptian obelisk which now stands in front of the Trinità dei Monti church above the Piazza di Spagna at the top of the Spanish Steps
the Borghese Vase, discovered there in the 16th century.
the sculptures known as the Dying Gaul and the Gaul Killing Himself and His Wife, marble copies of parts a famous Hellenistic group in bronze commissioned for Pergamon in about 228 BC.
the Ludovisi Throne (probably an authentic Greek piece in the Severe style), found in 1887, and the Boston Throne, found in 1894.
the Crouching Amazon, found in 1888 near the via Boncompagni, about twenty-five meters from the via Quintino Sella (Museo Conservatori).

text: Roman baths were another site for sculpture; among the well-known pieces recovered from the Baths of Caracalla are the Farnese Bull and Farnese Hercules and over life-size early 3rd century patriotic figures somewhat reminiscent of Soviet Social Realist works (now in the Museo di Capodimonte, Naples).

text: Found in the Gardens of Sallust

text:
Falling Niobid, discovered in the site in 1906 (Museo Nazionale Romano)' a Greek original[26]

Borghese Vase

Caryatid statue, Palazzo dei Senatori - Musei Capitolini, Rome.

Fountain in the form of a horn-shaped drinking cup (rhyton), Palazzo dei Senatori - Musei Capitolini, Rome.

Child with a theatre mask, for a garden or house, Palazzo Nuovo - Musei Capitolini, Rome.

text: Technology[edit]

text: Scenes shown on reliefs such as that of Trajan's column and those shown on sarcophogi reveal images of Roman technology now long lost, such as ballistae and the use of waterwheel-driven saws for cutting stone. The latter was only recently discovered at Hieropolis and commemorates the miller who used the machine. Other reliefs show harvesting machines, much as they were described by Pliny the Elder in his Naturalis Historia.

text: Architecture[edit]

text: Compared to the Greeks, the Romans made less use of stone sculpture on buildings, apparently having few friezes with figures. Important pediments, such as the Pantheon for example, originally had sculpture, but hardly any have survived. Terracotta relief panels called Campana reliefs have survived in good numbers. These were used to decorate interior walls, in strips.

text: The architectural writer Vitruvius is oddly reticent on the architectural use of sculpture, mentioning only a few examples, though he says that an architect should be able to explain the meaning of architectural ornament and gives as an example the use of caryatids.[27]


document_title: Undertale

question_text: in the game undertale who was mettaton's creator

question_tokens: in the game undertale who was mettaton 's creator

text: Undertale

text: Gameplay

text: Undertale is a role-playing game that uses a top-down perspective.[1] In the game, players control a child and complete objectives in order to progress through the story.[2] Players explore an underground world filled with towns and caves, and are required to solve numerous puzzles on their journey.[2][3] The underground world is the home of monsters, many of whom challenge the player in combat;[3] players decide whether to kill, flee, or befriend them.[2][4]

text: When players encounter enemies in either scripted events or random encounters, they enter a battle mode. During battles, players control a small heart which represents their soul, and must avoid attacks unleashed by the opposing monster in a similar fashion to a bullet hell shooter.[2][3] As the game progresses, new elements are introduced, such as colored obstacles, and boss battles which change the way players control the heart.[5] Players may choose to attack the enemy, which involves timed button presses. Killing enemies will cause the player to earn EXP (in turn increasing their LOVE) and gold.[6] They can use the ACT option to perform various actions, which vary depending on the enemy.[2] If the player uses the right actions to respond to the enemy, or attacks them until they have low HP (but still alive) they can choose to spare them and end the fight without killing them.[7] In order for some boss encounters to be completed peacefully, the player is required to survive until the character they are facing has finished their dialogue. The game features multiple story branches and endings depending on whether players choose to kill or spare their enemies; and as such, it is possible to clear the game without killing a single enemy.[8]

text: Monsters will talk to the player during the battle, and the game will tell the players what the monster's feelings and actions are.[9] Enemy attacks change based on how players interact with them: should players choose non-violent options, enemy attacks are easy, whereas they become difficult if players choose violent options.[3][9] The game relies on a number of metafictional elements in both its gameplay and story.[10] When players participate in a boss battle on a second playthrough, the dialogue will be altered depending on actions in previous playthroughs.[11]

text: Plot

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (October 2018) (Learn how and when to remove this template message)

text: Undertale takes place in the Underground, a massive subterranean cave to where monsters, who once lived harmoniously with humans on the surface, have been banished after losing a war with humanity. The Underground is sealed from the surface world by an uneven magic barrier created by humanity's most powerful wizards, the only point of entry being at Mount Ebott.[12] A human child falls into the Underground and encounters Flowey, a sapient flower who teaches them the game's mechanics and encourages them to raise their "LV", or "LOVE", by gaining "EXP" through killing monsters.[a] When Flowey attempts to murder the human to take their soul for himself, the human is rescued by Toriel, a motherly goat-like monster, who teaches the human to solve puzzles and survive conflict in the Underground without killing. She intends to adopt the human, wanting to protect them from Asgore Dreemurr, the king of the Underground.

text: The human eventually leaves Toriel to search for Asgore's castle, which contains the path (blocked by the barrier) leading to the surface world. Along the way, the human encounters several monsters, including: the skeletons Sans and Papyrus, two brothers who act as sentries for the Underground; Undyne, the head of the royal guard; Alphys, the kingdom's royal scientist; and Mettaton, a robotic television host Alphys built. Some of them are fought, with the human having to choose whether to kill them or to show mercy; should the human spare them, they become friends. During their travels, the human learns the details and the cause of the war between humans and monsters, as well as the backstory of Asriel, the son of Asgore and Toriel. Asriel had befriended a human child named Chara[b] who fell into the Underground and was adopted by Asgore and Toriel. One day, Chara fatally poisoned themself by drinking a tisane made from poisonous buttercup flowers, in a bid to have themself absorbed by Asriel in order to fulfill their plan of freeing the monsters by collecting six additional souls from the surface, which would then be used with Chara's soul to break the barrier. Asriel absorbed Chara's soul, and crossed the barrier, but from there refused to carry out the plan any further, instead deciding to attempt to return Chara's body to their home village. He was killed by humans who thought he killed Chara, as he refused to defend himself out of his pacifistic ideology. With both of his children dead, Asgore declared another war on humanity, and continued Chara's plan, seeking to break the barrier by killing any human who falls into the Underground to collect seven human souls, of which he currently has six.

text: There are three major divergent paths in the game's ending, depending on how the player resolves encounters with monsters: the Neutral run, the Pacifist run, and the Genocide run.[8][14] The default Neutral run occurs if the player has killed some but not all of the monsters, or has not killed any monsters. The Neutral run has over twelve variations depending on which monsters were killed. In general, in the Neutral run ending, the human arrives at Asgore's castle and learns that they also need a monster's soul to cross the barrier, forcing them to fight Asgore. Sans stops the human before their confrontation, revealing that the human's "LOVE" is an acronym for "Level Of ViolencE" and "EXP" for "EXecution Points." Sans judges the human based on the combined resolution of the encounters. The human fights and defeats Asgore. However, Flowey sneaks in, kills Asgore, steals the human souls, and becomes a monstrous abomination called Photoshop Flowey. By calling out to the six souls for help, the human defeats Flowey, falls unconscious, and awakens on the human side of the barrier; they receive a phone call from Sans, explaining the state of the Underground after the human's departure. If the player does another Neutral run after completing it once, Flowey will not absorb the human souls, knowing that they would revolt again, and the player can skip his fight.

text: The Pacifist run can only be performed after the player has completed one Neutral run through the game, and its ending only obtained by not killing any of the monsters during the run while befriending Papyrus and Undyne, and Alphys.[14][15] After befriending Alphys, the player discovers her true laboratory. It is revealed that Asriel was reincarnated as Flowey, created by Alphys as a vessel of determination (the power that allows the human and Flowey to save game files in order to resurrect) as well as an intended surprise for Asgore. The player then returns to fight Asgore, but Toriel intervenes and is joined by the other monsters the human has befriended. Flowey ambushes the group, using the souls of all the monsters to take an older Asriel's form to fight the human and initiate an Apocalypse. The human connects with their new friends during the fight, eventually triumphing. Asriel reverts to his child form and realizes to his dismay that the human is not Chara. The human tells him their real name, Frisk. Asriel expresses his remorse for all he has done, and uses the six human souls and all the monster souls to destroy the barrier. Asriel then says he will inevitably turn back into Flowey, and tells Frisk to leave him behind. Frisk falls unconscious, and awakens surrounded by their friends. The monsters reintegrate with the humans on the surface, while Frisk has the option of accepting Toriel as their adoptive mother or striking out on their own. Based on this choice, the Pacifist ending will differ: if the player chooses to stay with Toriel, a cutscene will play placing a slice of pie next to the bed of the sleeping human, and if the human chooses to leave, a sepia photograph is shown of the player and their friends.

text: The Genocide run requires the player to kill all monsters and maximize their LOVE, intentionally triggering random encounters until they no longer occur.[11][15][14] As Frisk reaches Asgore's castle, Sans attempts to stop them, but Frisk kills him along with Asgore and Flowey. Chara materializes before the player after Flowey is killed and explains that they were resurrected by the player's LOVE. The player is then asked to join them in the destruction of the universe, which occurs regardless of the player's choice. Afterwards, the game will no longer be playable, but Chara will eventually offer to restore the universe in exchange for the player's soul after ten minutes. If the player accepts this deal, the game will be playable again; however, every subsequent Pacifist playthrough will end with Chara taking over Frisk's body.

text: Development

text: Undertale was developed by Toby Fox across 2.7 years.[16] Development was financed through a crowdfunding campaign on the website Kickstarter. The campaign was launched on June 25, 2013 with a goal of US$5,000; it ended on July 25, 2013, with US$51,124 raised by 2,398 people (1022.48% of the original goal).[17] Undertale's creation ensued after Fox created a battle system using the game creation system GameMaker: Studio.[18] He wanted to develop a role-playing game that was different from the traditional design, which he often found "boring to play".[19] He set out to develop a game with "interesting characters", and that "utilizes the medium as a storytelling device ... instead of having the story and gameplay abstractions be completely separate".[19]

text: Fox worked on the entire game independently, besides some of the art; he decided to work independently to avoid relying on others.[16] Fox had little experience with game development; he and his three brothers often used RPG Maker 2000 to make role-playing games, though few were ever completed. Fox also worked on a number of EarthBound ROM hacks while in high school.[19] Temmie Chang worked as the main artistic assistant for the game, providing most of the sprites and concept art.[20] Fox has said that the game's art style would likely remain the same if he had access to a larger team of artists. He found that "there's a psychological thread that says audiences become more attached to characters drawn simply rather than in detail", particularly benefiting from the use of visual gags within the art.[21]

text: Game design

text: The defensive segment within the battle system was inspired by the Mario & Luigi series, as well as bullet hell shooters such as the Touhou Project series.[22] When working on the battle system, Fox set out to create a mechanic that he would personally enjoy.[23] He wanted Undertale to have a battle system as equally engaging as Super Mario RPG (1996) and Mario & Luigi: Superstar Saga (2003). Fox did not want grinding to be necessary at any point in the game, instead leaving it optional to players. He also did not wish to introduce fetch quests, as they involve backtracking, which he dislikes.[16] In terms of the game's difficulty, Fox ensured that it was easy and enjoyable. He asked some friends who are inexperienced with bullet hell shooters to test the game, and found that they were able to complete it. He felt that the game's difficulty is optimal, particularly considering the complications involved in adding another difficulty setting.[24]

text: The game's dialogue system was inspired by Shin Megami Tensei (1992),[22] particularly the gameplay mechanic whereby players can talk to monsters to avoid conflict. Fox intended to expand upon this mechanic, as failing to negotiate resulted in a requirement to fight. "I want to create a system that satisfied my urge for talking to monsters," he said.[3] When he began developing this mechanic, the concept of completing the game without killing any enemies "just evolved naturally".[25] However, he never considered removing the option to fight throughout development.[25] When questioned on the difficulty of playing the game without killing, Fox responded that it is "the crux of one of the major themes of this game", asking players to think about it themselves.[25]

text: Writing

text: For the game's writing, Fox was partly influenced by the silliness of internet culture, as well as comedy shows like Mr. Bean (1990–1995).[16] He was also inspired by the unsettling atmosphere of EarthBound (1994).[16] Fox's desire to "subvert concepts that go unquestioned in many games" further influenced Undertale's development.[25] Fox found that the writing became easier after establishing a character's voice and mood. He also felt that creating the world was a natural process, as it expressed the stories of those within it.[21] Fox felt the importance to make the game's monsters "feel like an individual".[22] He cited the Final Fantasy series (1987–present) as the opposite; "all monsters in RPGs like Final Fantasy are the same ... there's no meaning to that".[22]

text: The character of Toriel, who is one of the first to appear in the game, was created as a parody of tutorial characters. Fox strongly disliked the use of the companion character Fi in The Legend of Zelda: Skyward Sword (2011), in which the answers to puzzles were often revealed early. Fox also felt that role-playing video games generally lack mother characters; in the Pokémon series (1996–present), as well as Mother (1989) and EarthBound, Fox felt that the mothers are used as "symbols rather than characters".[19] In response, Fox intended for Toriel's character to be "a mom that hopefully acts like a mom", and "genuinely cares" about players' actions.[19]

text: Music

text:
"Hopes and Dreams"

"Hopes and Dreams", a song from one of the game's final boss fights, was praised for reintroducing many of the game's previous themes in a different style.[26][27]
Problems playing this file? See media help.

text: The game's soundtrack was entirely composed by Fox. A self-taught musician, he composed most of the tracks with little iteration; the game's main theme, "Undertale", was the only song to undergo multiple iterations in development. The soundtrack was inspired by music from Super NES role-playing games,[16] such as EarthBound,[28] as well as the webcomic Homestuck, for which Fox provided some of the music.[16] Fox also stated that he tries to be inspired by all music he listens to,[23] particularly those in video games.[28] According to Fox, over 90% of the songs were composed specifically for the game.[18] "Megalovania", the song used during the boss battle with Sans, had previously been used within Homestuck and in one of Fox's EarthBound ROM hacks.[27][29] For each section of the game, Fox composed the music prior to programming, as it helped "decide how the scene should go".[18] He initially tried using a music tracker to compose the soundtrack, but found it difficult to use. He ultimately decided to play segments of the music separately, and connect them on a track.[28] To celebrate the one year anniversary of the game, Fox released five unused musical works on his blog in 2016.[30] Four of the game's songs were released as official DLC for the Steam version of Taito's Groove Coaster.[29]

text: Undertale's soundtrack has been well received by critics as part of the success of the game, in particular for its use of various leitmotifs for the various characters used throughout various tracks.[31][32] In particular, "Hopes and Dreams", the boss theme when fighting Asriel in the run-through where the player avoids killing any monster, brings back most of the main character themes, and is "a perfect way to cap off your journey", according to USgamer's Nadia Oxford.[27] Oxford notes this track in particular demonstrates Fox's ability to "turning old songs into completely new experiences", used throughout the game's soundtrack.[27] Tyler Hicks of GameSpot compared the music to "bit-based melodies".[33]

text: Release

text: The game was released on September 15, 2015 for Microsoft Windows and OS X,[34] and on July 17, 2016 for Linux.[35] Fox expressed interest in releasing Undertale on other platforms, but was initially unable to port it to Nintendo platforms without reprogramming the game due to the engine's lack of support for these platforms.[16] A patch was released in January 2016, fixing bugs and altering the appearance of blue attacks to help colorblind players see them better.[36] Sony Interactive Entertainment announced during E3 2017 that Undertale would get a release for the PlayStation 4 and PlayStation Vita, a Japanese localization, and a retail version published by Fangamer. These versions were released on August 15, 2017.[37][38][39] A Nintendo Switch version was revealed during a March 2018 Nintendo Direct, though no release date was given at the time;[40][41] Undertale's release on Switch highlighted a deal made between Nintendo and YoYo Games to allow users of GameMaker Studio 2 to directly export their games to the Switch.[42] The port was released on September 15, 2018 in Japan,[43] and on September 18, 2018 worldwide.[44] All console ports are published courtesy of Japanese localizer 8-4 in all regions.

text: Other Undertale media and merchandise have been released, including toy figurines and plush toys based on characters from the game.[45] The game's official soundtrack was released in 2015 simultaneously with the game's release.[46] Additionally, two official Undertale cover albums have been released: the 2015 metal album Determination by RichaadEB and Ace Waters,[47][48] and the 2016 jazz album Live at Grillby's by Carlos Eiene, better known as insaneintherainmusic.[49] Another album of jazz duets based on Undertale's songs, Prescription for Sleep, was performed and released in 2016 by saxophonist Norihiko Hibino and pianist Ayaki Sato.[50] A 2xLP vinyl edition of the Undertale soundtrack, produced by iam8bit, was also released in the same year.[51]

text: Reception

text: ReceptionAggregate scoreAggregatorScoreMetacritic(PC) 92/100[52](PS4) 92/100[53]Review scoresPublicationScoreDestructoid10/10[2][54]Game Informer9.5/10[56]GameSpot9/10[33]Giant Bomb[55]IGN10/10[57]PC Gamer (US)91/100[58]USgamer[59]

text: Undertale received critical acclaim, and was quickly considered a cult video game by numerous publications.[60][61] Review aggregator Metacritic calculated an average score of 92 out of 100, based on 43 reviews.[52] Metacritic ranks the game the third-highest rated Windows game released in 2015,[52] and among the top 50 of all time.[62] Praise was particularly directed at the game's writing, unique characters, and combat system. GameSpot's Tyler Hicks declared it "one of the most progressive and innovative RPGs to come in a long time",[33] and IGN's Kallie Plagge called it "a masterfully crafted experience".[57] By the end of 2015, in a preliminary report by Steam Spy, Undertale was one of the best-selling games on Steam, with 530,343 copies sold.[63] By early February 2016, the game surpassed one million sales,[64] and by July 2018, the game had an estimated total of three and a half million players on Steam.[65] Japanese digital PlayStation 4 and PlayStation Vita sales surpassed 100,000 copies sold by February 2018.[66]

text: Daniel Tack of Game Informer called the game's combat system "incredibly nuanced", commenting on the uniqueness of each enemy encounter.[56] Giant Bomb's Austin Walker praised the complexity of the combat, commenting that it is "unconventional, clever, and occasionally really difficult".[55] Ben "Yahtzee" Croshaw of The Escapist commended the game's ability to blend "turn-based and live combat elements in a way that actually fucking works".[67] IGN's Plagge praised the ability to avoid combat, opting for friendly conversations instead.[57] Jesse Singal of The Boston Globe found the game's ability to make the player empathize with the monsters during combat if they opted for non-violent actions was "indicative of the broader, fundamental sweetness at the core" of Undertale.[68]

text: Reviewers praised the game's writing and narrative, with IGN's Plagge calling it "excellent".[57] The Escapist's Croshaw considered Undertale the best-written game of 2015, writing that is "on the one hand hilarious... and is also, by the end, rather heartfelt".[67] Destructoid's Ben Davis praised the game's characters and use of comedy, and compared its tone, characters and storytelling to Cave Story (2004).[2] PC Gamer's Richard Cobbett provided similar comments, writing that "even its weaker moments ... just about work".[58]

text: The game's visuals received mixed reactions. Giant Bomb's Walker called it "simple, but communicative".[55] IGN's Plagge wrote that the game "isn't always pretty" and "often ugly", but felt that the music and animations compensate.[57] The Escapist's Croshaw remarked that "it wobbles between basic and functional to just plain bad".[67] Other reviewers liked the graphics: Daniel Tack of Game Informer felt that the visuals appropriately match the characters and settings,[56] while Richard Cobbett of PC Gamer commended the ability of the visuals to convey emotion.[58]

text: About a year after release, Fox commented that he was surprised by how popular the game had become and though appreciative of the attention, he became stressed out over it. Fox said: "It wouldn't surprise me if I never made a game as successful again. That's fine with me though."[69]

text: Accolades

text: Undertale has received multiple awards and nominations from several gaming publications. It won Game of the Year from The Jimquisition[70] and Zero Punctuation,[71] as well as Game of the Month from Rock, Paper, Shotgun.[72] The game won the Best Game Ever poll from GameFAQs,[73] and was awarded Best PC Game from Destructoid[74] and IGN.[75] At the Independent Games Festival Awards, it won the Audience Award,[76] while the SXSW Gaming Awards named it the Most Fulfilling Crowdfunded Game, and awarded it the Matthew Crump Cultural Innovation Award.[77]

text:
showList of awards and nominations for Undertale

Date
Award
Category
Recipient(s) and Nominee(s)
Result
Ref.

October 30, 2015

Rock, Paper, Shotgun Game of the Month: October

Game of the Month

Undertale

Won

[72]

November 27, 2015

Global Game Awards 2015

Best Indie

Undertale

Runner-Up

[78]

December 1, 2015

Time's Top 10 Video Games

Best Game

Undertale

Ninth

[79]

December 3, 2015

The Game Awards 2015

Best Independent Game

Undertale

Nominated

[80]

December 3, 2015

The Game Awards 2015

Games for Change

Undertale

Nominated

[80]

December 3, 2015

The Game Awards 2015

Best Role-Playing Game

Undertale

Nominated

[80]

December 4, 2015

Vice's Best 20 Video Games of 2015

Best Game

Undertale

Eighth

[81]

December 15, 2015

Rock, Paper, Shotgun's Best PC Games of 2015

Funniest Game on PC

Undertale

Won

[1]

December 15, 2015

Good Game Awards 2015

Game of the Year

Undertale

Nominated

[82]

December 16, 2015

GameFAQs' Best Game Ever

Best Game Ever

Undertale

Won

[73]

December 18, 2015

GameSpot Game of the Year

Game of the Year

Undertale

Nineteenth

[83]

December 21, 2015

The Jimquisition Game of the Year Awards 2015

Game of the Year

Undertale

Won

[70]

December 22, 2015

Destructoid Game of the Year

Best PC Game

Undertale

Won

[74]

December 25, 2015

The Escapist's Best Games of 2015

Best Game

Undertale

Nominated

[84]

December 28, 2015

Ars Technica best video games of 2015

Best Game

Undertale

Fifth

[34]

December 28, 2015

Giant Bomb's 2015 Game of the Year Awards

Best Surprise

Undertale

Runner-Up

[85]

December 30, 2015

Giant Bomb's 2015 Game of the Year Awards

Best Debut

Toby Fox

Runner-Up

[86]

January 1, 2016

Giant Bomb's 2015 Game of the Year Awards

Game of the Year

Undertale

Seventh

[87]

January 7, 2016

Zero Punctuation Top 5 Games of 2015

Game of the Year

Undertale

Won

[71]

January 12, 2016

IGN's Best of 2015

PC Game of the Year

Undertale

Won

[75]

January 12, 2016

IGN's Best of 2015

Best Story

Undertale

Won

[88]

February 18, 2016

19th Annual DICE Awards

Outstanding Achievement in Game Direction

Undertale

Nominated

[89]

February 18, 2016

19th Annual DICE Awards

DICE Sprite Award

Undertale

Nominated

[89]

February 18, 2016

19th Annual DICE Awards

Role-Playing/Massive Multiplayer Game of the Year

Undertale

Nominated

[89]

March 16, 2016

2016 Game Developers Choice Awards

Innovation Award

Undertale

Nominated

[90]

March 16, 2016

2016 Game Developers Choice Awards

Best Debut

Toby Fox

Nominated

[90]

March 16, 2016

2016 Game Developers Choice Awards

Best Narrative

Undertale

Nominated

[90]

March 16, 2016

2016 Independent Games Festival Awards

Seumas McNally Grand Prize

Undertale

Nominated

[91]

March 16, 2016

2016 Independent Games Festival Awards

Excellence in Audio

Undertale

Nominated

[91]

March 16, 2016

2016 Independent Games Festival Awards

Excellence in Narrative

Undertale

Nominated

[91]

March 16, 2016

2016 Independent Games Festival Awards

Audience Award

Undertale

Won

[76]

March 19, 2016

2016 SXSW Gaming Awards

Game of the Year

Undertale

Nominated

[92]

March 19, 2016

2016 SXSW Gaming Awards

Excellence in Gameplay

Undertale

Nominated

[92]

March 19, 2016

2016 SXSW Gaming Awards

Most Fulfilling Crowdfunded Game

Undertale

Won

[77]

March 19, 2016

2016 SXSW Gaming Awards

Most Promising New Intellectual Property

Undertale

Nominated

[92]

March 19, 2016

2016 SXSW Gaming Awards

Matthew Crump Cultural Innovation Award

Undertale

Won

[77]

April 7, 2016

British Academy Games Awards

Story

Undertale

Nominated

[93][94]

March 21, 2016

2015 National Academy of Video Game Trade Reviewers Awards

Game, Original Role Playing

Toby Fox

Won

[95]

August 11, 2016

Dragon Awards

Best Science Fiction or Fantasy PC/Console Game

Undertale

Nominated

[96]

December 31, 2016

Steam Awards

The "I'm not crying, there's just something in my eye" award

Undertale

Nominated

[97]