Montana rail planning newsletter

Given the above, the contractor has been able to allocate wheat movements among the different export markets and modes on an empirical basis. Up until late 1976, most (say 90 percent) Montana wheat moved by rail; since then, car supply and local service problems coupled with the construction of grain terminals at Lewiston, ID and other downstream river ports has resulted in a sizable diversion of Montana-produced wheat shifting to motor carrier transport. Also a factor is the competitiveness of rail and truck rates. Having solved the allocation problem, the work comes down to costing out the various transport alternatives between farm and market. In considering solutions such as the grain subterminal, the underlying premise is that its feasibility first depends upon establishing whether the unit costs are less and the quantities great enough to economically justify the facility, assuming initial- ly that the institutional problems can be worked out. The follow- ing discussion and schematic figures are designed to illustrate the process involved. Figures 1 and 2 depict the present grain marketing system in Montana. Rather than deal with individual farms, counties pro- ducing significant amounts of wheat and barley have been divid- ed into a series of grain-producing units (GPU's) for which in- dependent data are available from the Montana Soil Conservation Service on total grain production by year. Nearly all of the grain produced is marketed through country elevators or grain public warehouses (GPW's), as illustrated by Figure 1. Transport is by five district modes or modal combinations as indicated in Figure FIGURE 1 \^_ Wheat/Barley Markets FIGURE 2 (gpuj farm vehicles \ \ grain truck, truck / water, or rail "track buyers" grain truck or ' farm vehicle/ rail j Markets | FIGURE 3 grain truck I Markets i FIGURE 4 Domestic Markets Export Markets 2. Most grain moves by farm truck to grain public warehouses, although increasing amounts are moving directly to markets via grain trucks or farm vehicle/rail, thus bypassing the elevators.


Montana rail planning newsletter

Roughly, two-thirds of the grain marketed by grain public warehouses still moves by rail, although sizable amounts are presently moving by grain truck/barge through the Port of Lewiston and other Snake River ports. A small amount of grain traffic moves all-the-way by truck. The addition of a grain subterminal to the transport pipeline is illustrated by Figure 3. As visualized, this facility supplements rather than replaces existing elevators by functioning as an assembly point for large quantities of wheat, which can then move by unit train to the export houses in and around Portland. Grain would be transported to the subterminal by grain trucks. This concept differs somewhat from the multi-car rate structure presently being developed by the Burlington Northern. Under pro- posed rate structures, elevator operators located along a seg- ment of track serviced by the same local freight could jointly ar- range for the spotting of some 52 to 54 covered hoppers compris- ing a full train. Applicable rates would be a function of the number of loading points; the fewer the number, the lower the rate. Ship- pers would be given a minimum time period within which to load out the cars, which would then be reassembled into a train for movement to a single destination. This concept is similar to the "grain train" previously tried and still advocated by some. The Burlington Northern concept is short-term — it cannot of- fer the transportation cost reductions potentially possible through the operation of a dedicated train. The main difference is that under the grain subterminal concept, movements would be from a single point to a single destination on a regularly schedul- ed basis, rather than as a one-time or irregular movement. The multiple car rate structure being developed by the Burlington Northern does offer the possibility of immediate transport cost savings if the elevator operators are willing to cooperate in their marketing and transportation decisions.


Montana rail planning newsletter

It does get around pres- ent infrastructure limitations (mainly the lack of suitable trackage and the ability to load out 50 or more carloads in 24 hours without additional switches) which effectively preclude unit train opera- tions today. Figure 4 illustrates what might happen were a grain subter- minal implemented. Some grain would bypass both present elevators and the grain subterminal, as illustrated by possibility #1. Under possibility #2, a large portion of the grain would be marketed through the grain subterminal, although domestic markets would continue to be served by conventional service. Some elevators may choose not to market grain through grain subterminals at all, as illustrated by possibility #3. On the other hand, an elevator may choose to change past marketing patterns or the types of grains handled and route all of its grain through the subterminal, as illustrated by possibility #4. Finally some of the larger farmers might seek to deal with the subterminal direct- ly, by-passing existing elevators as indicated in possibility #5. The key is determining specifically the conditions (if any) under which transport cost reductions potentially achievable through unit train operations are greater than the amortized capital and operating cost of a grain subterminal plus any added truck transport costs involved in moving grain to the subterminal. To do this, the contractor will be testing three hypothetical scenarios. The first assumes that each elevator will make its own par- ticipatory decision based solely on which routing (i.e., direct to market or through a grain subterminal) costs less. The second, which represents the opposite situation, assumes that all elevators will participate in the program and market their export wheat through the nearest subterminal. The third scenario is bas- ed on the concept that all marketing and transport decisions will be transferred to operators physically located at grain subter- minals, and that the role of present elevators will be reduced to adjunct storage.


Patient care management manual

Later, the United States Department of Health, Education, and Welfare (HEW) assumed an advocacy role. On June 21, 1974, HEW announced a campaign to upgrade the quality of care provided in the Nation's nursing homes. Phase I of the campaign was a fact-finding study. The study was designed by agencies involved in long- term care and health care consultants and was implemented by teams of professionals who visited selected long-term care and health care facilities to review the care provided and a sample of patients. One of its most important specific findings was that the survey and certification process focuses on a facility's capability to deliver care, rather than determining if quality care was provided. A New Focus and Approach Emphasis on the capability of the institution to provide care was shifted to a new focus — the improvement of the patient's total care within the institution. To sharpen this focus, the goals for long- term care were defined in terms of maintaining or improving the patient's physical and psychosocial status at an optimal level. It was further concluded that a holistic approach to total patient health care was needed to meet these goals. Originally, a tool (PACE I) and a process were developed so that health personnel could systematical- ly identify needs of patients, plan appropriate care to meet those needs, and evaluate the outcomes of that care. Followinga Feasibility Study conducted in 19 States encompassing all 10 HEW Regions, PACE I was revised to incorporate suggestions from over 500 individuals, including providers. State and Federal personnel, professional and consumer organizations. The revised version is presented as PACE II in this document. The Patient Care Management ( PCM ) process is not only a group of structured activities leading to individualized patient care, but is a way of thought. Providers of nursing care will be able to either use the PACE II instrument or their own patient appraisal form.


Patient care management manual

It should be remembered, however, that 1 whatever instrument is used, patient assessment is only the first part of the process. Care planning and evaluation must be included as well. This document will explain how the process works with the sample instrument (illustrated with two case studies). Hints for teaching and how the PACE student can test himself with review questions will be found in the PCM Coordinator's Manual Supplement. The PCM Process Patient Care Management is a systematic process of patient assessment, care planning, and evaluation of care in both institutional and non-institutional settings. Beginning with patient appraisal, an appro- priate assessment instrument guides the user through orderly procedures designed to make it easier to identify a patient's problems and needs. Problem identification, in turn, allows for individualized care- planning. Later the patient is reappraised, the outcomes of previous care evaluated, and new care plans devised, if necessary. The process is always patient-centered. As the patient's dimensions of care change, his needs are measured, and responded to with repeated care- planning and goal-setting by the health care team. It is important to maintain this pattern in order to reflect the broader orientation of socio-medical needs instead of medical dependency. An appropriate patient appraisal instrument ensures that background and appraisal data are collected. Based on these data, appropriate care planning is undertaken to meet identified needs. Care evaluation is done periodically to assess the outcomes of care. Based on the evaluation, new goals may need to be set and the care plan revised. A sample appraisal form with detailed schedules, and Care Planning and Goal Achievement Summary Forms appear in a later section (pages 27-41) of this document. Although references are made to specific portions of the sample instrument, the principles may be applied to the comparable portions of the facility's own documents.


Patient care management manual

Development of an Appraisal Instrument The appraisal instrument should be developed so that the health care team can get a comprehensive and objective picture of a patient. In review, the underlying principles that were followed in the development and structuring of PACE and selection of its contents were : • Patient-Centered — All items of information are ' oriented toward the patient. They describe an individual as he is at the time of the appraisal or reappraisal, rather than describing the setting in which he is located. • Multidimensional — The information obtained is multidimensional. It describes the patient's status from the perspectives of his socio-demographic background, his strengths, weaknesses, impair- ments, physical functions, social and psychologi- cal capacity, and the care he is receiving. • Objective — The items of information are objec- tive, rather than subjective in form. This promotes agreement among persons who observe patients and record their observations by using standard- ized definitions and terminology. • Relevant — All items are relevant to the ultimate purpose of the process. The completed appraisal becomes the basis for individualizing care planning where the ultimate goal is to optimize the functioning status of the individual. The sections of the sample instrument (PACE II) and their six major content elements include: 1. Admission data — Examines the current setting, the provider of the most previous care, and demographic characteristics of the patient; 2. Medical data — Includes current diagnosis for which the patient is receiving care as well as clinical tests and measurements; 3. Impairment record — Indicates the physical status of the skin, extremities, sensory/ commu- nication system, as the bowel and bladder; 4. Functional capacity — Summarizes the patient's capacity to move safely, carry out activities of daily living, eat and maintain his nutrition, and adjust to the social and physical environment; 5. Patient care data — Records information on special procedures or services the patient is receiving as well as current medications; 6.


Patient care management manual

Aside from the basic data it contains, it may be necessary to complete schedules that describe the patient's status in greater detail, e.g., if the patient has a new diagnosis or is nearing discharge. (See Schedules A, B, C, PACE II.) TIMING THE APPRAISAL A Care Plan should be completed and implemented for every newly admitted long-term care patient as soon as the initial appraisal is finished, a health team care planning meeting has taken place, and a care plan devised and reviewed with a physician. THE INITIAL APPRAISAL Although much patient profile data may be obtained from records soon after admittance to a facility, when the appraisal process has started, it is wise to allow enough time to observe the patient and thus obtain accurate information about his functional and psycho- social status and any impairments he may have. If possible, these sections (especially psychosocial status) should be the last portions to be completed prior to the first care planning session. The Care Planning Process From the initial appraisal, the health care team abstracts and records multidimensional information about the patient, defining dysfunctions, impairments, and problems. Working together with the patient and his family, wherever possible, the team identifies and explores these concerns, establishes priorities, sets goals and puts together a care plan designed to help move the patient's function as close to those goals as possible. By determining the present level of function, the team, including the patient and his family, can decide on realistic, feasible, measurable goals designed to either maintain a current level or attain a new level of functioning. The care plan, including needed services and time- limited goals, is recorded on the Care Planning Form, that eventually becomes part of the patient's perma- nent record. However, while it is in use, it is kept in such a place to be readily available as a guide to all care givers.


Patient care management manual

On the accuracy, the depth of inquiry, and the understanding of the patient it reflects, rests the potential for effective planning, providing, evaluating, and replanning care. During the appraisal process — the recording of observations — information will merge to form a multidimensional profile of a person. By using this initial process, various members of a health care team record the attributes that, carefully interpreted, can describe a unique individual's strengths and weak- nesses— physical, emotional, and social. These items, however, have no significance until they are interpreted by the collective judgment of the health care team. It is a prime purpose of the appraisal to go beyond the individual's problems that precipitated the need for long-term care, and to consider the dimen- sions of the patient's functioning status. The initial appraisal, and any reappraisal after giving care, becomes the unique base from which the health care team formulates a specially tailored total care plan. The PCM process in a facility is used to assess, plan, provide and evaluate care and reassess and replan care for reappraisal of patients on a continuing basis. To manage the system, if possible, one individual should be designated to coordinate and direct the activities in a small institution. In a large institution, different individuals may assume the following roles: PCM Coordinator may be a nurse administrator, or Director of Nursing Services, or a designated staff person in the long-term care facility who has the primary responsibility for guiding facility personnel in using the facility's appraisal instrument, and for organizing, directing, and facilitating the system. This person is responsible for assuring that personnel understand PCM (Patient Care Management), assist- ing personnel in learning how to use the facility's assessment instrument, and monitoring the quality of the PCM process within the facility. The PCM Coordinator also serves as liaison between the facility and quality assurance activities, including survey and certification, PSRO, utilization review and the like.


Patient care management manual

In a small facility, the PCM Coordinator may also be the Chief PCM Appraiser. Chief PCM Appraiser is a staff person, usually a nurse in an administrative or supervisory position, in a long-term care facility who has the lead responsibility for the administration and completion of the facility's appraisal instrument for a group of patients. In a large facility, there may be more than one Chief Appraiser, where one Chief Appraiser may be assigned to each wing of the facility. PCM Appraiser is a staff person in a long-term care facility who applies various components of the facility's appraisal instrument to a patient at regular intervals (e.g., daily, monthly, or bimonthly). This person is most familiar with the patient and is responsible for working with appropriate members of the health care team from the various health disciplines who contribute to the appraisal. PROBLEM IDENTIFICATION Having completed the assessment for a patient, in whatever format the facility has chosen to use. the next step is to identify the problems affecting the patient and the care and supervision required. Even though a patient has an impairment or a problem, its existence may or may not be significant. An impairment becomes identified as a problem, if, in combination with other observations made throughout the appais- al, it is apparent that it contributes to some functional disability and that intervention is necessary and appropriate. Appraisal instruments provide a format for channeling and disciplining observations so that questions are asked that might not have been asked under other procedures. The Appraiser together with the health care team take the observations made in any one section of the instrument and examine them in the light of observa- tions made in other sections, as to their effects on functioning. The collective judgment of the team will lead to identification of different problems that are pertinent to the individual's health status and how they relate to one another.


Patient care management manual

It clearly says when the new status is to be measured or compared with the old. In a large number of instances, goals exhibiting these characteristics can follow these models: Mrs. X Will (Change) (What) From (How Much) To (How Much) By (When) Staff Will (Do) (What) By (When) In coming to grips with the clear specifications of goals, the most common difficulties lie in stating goals in measurable terms, in clearly describing outcomes, and in assigning time frames. It should also be remembered that there can be goals for the staff as well as the patient, e.g., "by the 15th of next month teach Mrs. X proper foot hygiene." When the goal is of the kind that expresses quality, look for an observable action or behavior that represents, is caused by, or is evidence of a change in that quality. For example, pain, which is entirely subjective, may be inferred from the number of requests for medication; or hostility by the number of angry exchanges with residents and staff. Try always to attach a quantifiable value to the evidence and specify the change desired in numerical terms. Outcomes will usually be expressed as a new condition or state of being. Try to find expressions that denote a state or condition — "Blood pressure will be 150/90," or a behavior — "Patient will demonstrate understanding," etc. Time limits must be stated so that they can be identified by a fixed reference. Specify both the beginning time and ending time, when possible, and attach dates or times of day. Say, "By October 15th rather than "By next month" or "In a month from now." Goals should be clearly stated and be congruent with the individual's medical regimen. Goals should be realistic, attainable and appropriate. Goals set too high cannot be met and may result in feelings of failure; goals set too low will not enable the patient to achieve his optimal level of functioning.


Patient care management manual

The health care team will then decide the extent of the goal achieve- ment. By using the reappraisal data, a judgment is made as to whether 1) the patient's condition remains unchanged with respect to the goal; or 2) his behavior or condition indicates that the goal has been partially met; or 3) he has totally achieved the goal. At the same time, a review of the reappraisal, particularly the section on Patient Care (pp. 23-25, PACE II), will reveal whether services planned were actually given or not. The last column for comments provides an opportunity to indicate problems encoun- tered such as "patient had second small stroke," or "family continues to bring in foods not on diet, etc.." Entries explaining reasons for failure to meet goals can be made in the columns. If a goal has only been partially met or not met at all. the team will decide if goals were unrealistic and reset them, if this is the case. It may be that the care plan needs modification so that the goal will be met. The team will then change the approaches to providing care so that the goal will be achieved. New goals will be set for achievement where the reappraisal data indicate new problems, impairments, or dysfunctions and care planned to meet these goals. SUMMARY The translation of data collected by means of the assessment to create an appropriate care plan requires a high degree of sensitivity and awareness on the part of each member of the health care team. In this phase the collective judgment, expertise, and experience of the team is brought to bear on drawing conclusions from data. It is here that facts and observations assessed and recorded on the appraisal must be related to each other. The solution for one individual will not necessarily be the same as for another, no matter how similar the problem.


Patient care management manual

Record "Tube Fed" or "Fed Parenterally" under Remarks DENTAL/ORAL STATUS GENERAL INFORMATION Dental/ Oral Status block (QI-C), when completed, provides indications of the status of the natural teeth, if any, whether the individual has dentures (full or partial), and the status of the oral soft tissue. The Dental/ Oral Status examination may be completed by the Appraiser, who needs to use only a dental mirror and flashlight to observe the patient's teeth and mouth. Instructions Natural Teeth For each finding, as described below, put a check mark in the appropriate boxes. If there is no finding, put a dash in the appropriate box to indicate the test was performed, unless otherwise directed. If the patient has no natural teeth, check space titled : None. If none, go on to block entitled : Dentures: Complete or Partial. If the patient has natural teeth, indicate the approximate number present (upper and lower jaw, combined). Indicate if any tooth is decayed or fractured. Examine for looseness and pain by pushing gently against each natural tooth with the dental mirror. Indicate if any tooth appears to be painful or loose. Inspect for the presence of debris, film, plaque, calculus (tartar), or stain, using the flashlight and dental mirror. Use space titled: Unclean: If there is no decay, fracture, pain, looseness or uncleanliness, check the space titled: Satisfactory. Dentures, Complete or Partial: For each finding, as described below, put a check mark in the appropriate boxes. If there is no finding, put a dash in the appropriate box to indicate the test was performed, unless otherwise directed. If the patient has no complete or partial dentures, check space titled, None. If none, go on to the block titled: Oral Soft Tissue. If the patient has dentures, indicate whether upper or lower plate, or both. Indicate if the patient uses the upper or lower plate for chewing. 96 Examine for fit and comfort by pushing gently against each plate with the dental mirror while observing -with the flashlight.


Patient care management manual

Usual Dining Location The place where the patient eats his main meal (generally the noon meal). If in room, indicate whether patient dines while in chair or bed 8. Weight (this appraisal) Patient's weight on day of appraisal or most recent measurement 9. Weight Change Significant change of weight within the last three months (e.g., more than five lbs.) PSYCHOSOCIAL FACTORS Psychosocial Factors describe the patient's adjustment to care, his social interaction, his adjustment to the facility, and his usual behavioral patterns. Instructions These sections should be completed by placing check marks in the appropriate space or column. The sections should be completed by the nurse appraiser eliciting information from the person or persons most able to describe the patient's pattern of psychosocial behavior. Note the A. 1-6, Patient's Adjustment to Care Plan, may not be applicable during initial appraisal, but should be completed during each subsequent appraisal. B. 1-17, requires one check mark in one of the three categories for each item; if four or more items are checked Never, then consideration should be given to having patient examined by a psychiatrically oriented professional such as a psychiatric or other qualified social worker, psychiatric nurse, clinical psychologist or psychiatrist. It is advisable that an amount of time suitable for the patient to adjust to the facility be permitted following admission. Complete the section just prior to the first care planning meeting. For each Behavioral Problem item in C. 1-15, identify first whether or not the patient exhibits such behavior. If not, place a check mark in column (A) opposite that item. If he does, then indicate whether his behavior is affecting his functional capacity or necessitates additional care and/ or supervision and check the appropriate column opposite that item. If behavior affects functional capacity of the individual or necessitates additional care and/ or supervision, then consideration should be given to having the patient examined by a qualified professional as indicated above in section B.


In their time : Lucy Rider Meyer (1849-1922) and Josiah Shelley Meyer (1849-1926) : one hundredth anniversary, Chicago Training School, 1885-1985

This in essence is the story of two restless individuals who started early life climbing mountains. When they reached the mountain peaks, they saw visions; and, believing in those visions, they set about making them a reality in their lives and in the lives of all who came in contact with them. They did not linger on the mountain peaks, as frequently happens to many who are overcome by the experience; no, they did not retire after their mountain top experiences—they remained fulfilled to the end of their earthly lives. This is a chronological story of what developed in their lives (and later in the lives of countless others) as they started back down the mountain. - 1 - facing every challenge that the visions had presented to them. They were wholly absorbed in fulfilling the visions they had seen, and this mission continued to the completion of their earthly sojourn. In presenting this story, I am in no sense imposing the past on the present, but I hope we can celebrate together the presentness of the past. At the end, I believe this encounter with the past can produce new experiences for each of us (and others who may read it in years to come) as we participate in bringing new ideas into reality for all peoples and all conditions we may face. It can be rewarding for Methodists in particular to consider their "roots," a popular pastime for many today. The United Methodist Church is a com¬ posite of many institutions we have come to accept, possibly giving little thought to the romance of their beginnings. All of the events in this story have made an invaluable contribution to the history of the Methodist Church and its movements, a period of 33 years in which 40 institutions came into being. Some were reconstructed, others were fostered.


According to Lucy Rider in later years, this book was con¬ sidered her most successful literary venture and brought her quite a sum of money 20 years later. (Every dollar was used for charitable purposes.) At the age of 31 (1880), Oberlin College, her alma mater, conferred on her the honorary degree of Master of Arts. During the 4 years at McKendree College, Miss Rider’s interests were grow¬ ing in Sunday School Work. On weekends she participated in conferences and gave lectures. Toward the close of the first school year at McKendree (in 1880) came the thrilling announcement that she had been chosen a delegate to the World’s Sunday School Convention to be held in London, beginning on June 26, 1880. She immortalized this experience in a carefully kept, 100-page Morocco- covered journal; this journal was complemented by numerous accounts in periodicals of the day. Her plans permitted a few weeks' hurried travel through Belgium, Switzer¬ land, Italy, France, then back to London——less than 3 months from start to finish. Several poems written by Lucy Rider while on these jaunts appear in her journal. - 4 - A time-yellowed, old-fashioned "album 11 accompanies the journal. In it are stored tokens of friendships. These are not the formal collections of the professional autograph hunter, but concluding lines from friendship's little notes and letters taken from their settings and pasted into this book of happy memories. These amputated signatures with disrupted sen¬ tences clinging to them are tantalizingly suggestive of things we should like to know. While in Europe, Miss Rider met socially (and intellectually) world famous men and women who became more involved in her life in the years ahead. - Found in her album were the following names; - Dwight L. Moody - Sankey, his "sweet singer" - William Booth, veteran of Salvation Army - Frances Willard - Dio Lewis - John Wanamaker, the Wew York financier - Mary Maple Dodge - Emily Huntington Miller - A thick sheet stamped with the embossed seal of the House of Lords bears the signature of the most distinguishable illegi¬ bility - "Shaftsbury" (the famous philanthropist, Earl Shaftsbury).


Meyer remained an invalid in bed for the remainder of the year and well into the following year. From her bed she wrote articles and directed the functioning of the School, wrote music, and directed lf her girls 11 in their field work activities. Just when the Meyers were reaching a state of sickening anxiety over their indebtedness, Mrs. Meyer’s vivid attention was given to a new and wonderful plan for raising a large amount of money by very small gifts—a chain letter* Her imagination leaped to the possibilities. The chain letter had all the charm of the nickel fund, but with even more adventure. She prepared the letter against the better judgment of Mr. Meyer even before the annex was ready for occupancy. She reasoned that, the recipient was only asked to return 10c and make three copies of the letter to mail to three friends. During the first year, the experiment was an immediate success from the standpoint of financial returns; $10,000 was received from the chain letters, and more than 200,000 responses were received. The advertising value was even more successful in that thousands now heard of the School. At the end of the first year the Meyers had $9,000 over and above all the expenses. Many letters of protest were received by the Chicago Chief of Police, so many that he made a quiet investigation of the Chicago Training School. Detectives watched the School, and followed the girls to their field work assignments for 1 week until the police chief was convinced the work the School was doing was good. The police chief sent out hundreds of letters of explanation with a descriptive booklet from the School to answer the complaints. One hitch with the letters received was that half of the money was in 2c postage stamps! The post office refused to purchase the stamps, so Mr.


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During half time of the game, Cathy O'Dell was crowned Homecoming queen. Sponsored by Delta Zeta fraternity and Sigma Pi fraternity, she is a regular per- former in stage productions. Miss O'Dell was the first to be elected by the new method proposed by Student Government for selection of Homecoming queen. A candidate had to be a full time stu- dent in her sophomore, junior, or senior year, and have a 2.0 average. Lynicia Edi- son was chosen as an attendant by the Freshman Class. Judges picked the five finalists after an informal interview, a dinner, and a fashion show a week before the game. The fourteen candidates were intro- duced and the five finalists announced at the disco Thursday night. Students voted on Friday for the Homecoming queen. Those chosen as finalists with Miss O'Dell were Cheryl Minnix, Jennifer Herr- mann, Toni Parker, and Melinda Sue Tay- lor. The Black Student Union sponsored a dance at the American Legion Saturday night with disc jockey Les Diamond from Oak Hill. Approximately 250 people attended the dance during which the court and queen of BSU were introduced. The can- didates were Lynicia Edison, Valerie Goldson, Ruby Brooks, and Stephanie Green. Miss Green, a senior psychology major, was crowned queen. L: Float stuffing is everywhere as members of Phi Mu and Theta Xi prepare for the parade. 8 ' Homecoming Better late than never could be said of Harry Cha- pin. He had difficulties getting here and was an hour late giving his concert. 8c/Homecoming No dampened spirits The rain came down but spirits re- mained high as students attended Home- coming festivities. "The largest crowd ever turned out for the Homecoming activities," said Greg Tinnell, programming committee chair- man. The big event of the week took place Sunday night when Little River Band and Tom Chapin performed in the Feaster Center.


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The Homecoming kick off is returned by Frank llacqua. Former 'Make a Wish' star Tom Chapin warms the crowd before Little River Band. 8a /Homecoming Horses are being made by Stacy Vickers and Kathy Delaney for a merry-go-round to go on the Sigma Sigma Sigma float. Homecoming /8b The rain keeps falling as candidates Cheryl Minnix and Jennifer Herrmann along with their escorts await half time activities. Western wear is worn by Robyn Girondo at the disco to announce the finalists. Shock and pleasure are shown on the faces of Cathy O'Dell and Melinda Sue Taylor as they are announced as finalists at the disco. Homecoming/8d During half time of the game, Jennifer Herrmann awaits the announcement of the queen. . spirits (cont.) *w Another concert was given during the week when Harry Chapin gave a benefit concert for the Commission on World Hunger. Following tradition, it rained on Thurs- day but the rain subsided for the parade. Campus organizations supporting a can- didate were required to decorate floats to the theme "Under the Big Top." The cheerleaders performed a dance routine at the disco on Thursday night and also at the disco that took place on Satur- day before the game. Everything was a nickel in the Nickel the morning of the game while the Caba- ret Mobile disco was there. The week's activities varied for student and alumni's interest. There was some- thing for everyone and no dampened spir- its. Homecoming /9 Part of a cheerleader's routine sometimes means Being a cheerleader sometimes calls for doing some sprains and pulled muscles, but Vicki Hughes takes strange movements, as demonstrated by Emil Lehosit. precaution by wearing an elastic bandage. Shouts of praise What do students go through just to be cheerleaders? They cheer in the rain and cold, yell for two hours with just a short break, practice six to eight hours a week, the men do almost continuous lifting through the game, and all work on activities to motivate school spirit.


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Those on the squad this year were Tammy Tennant, Vicki Hughes, Donna Knotts, Julie Gainer, Cheryl Minnix, Micki Edens, Tim Belotte, Emil Lehosit, Jay Messenger, Jim Richardson, Mike Hill, Rick Morris and substitute Stephanie Sayre. Jeff Morris and Tracy Thompson were on the squad; then after football season Richardson and Hill took their places. The cheerleaders met several week- ends during the summer to practice be- fore attending camp in Knoxville, Tenn., in August. They brought back blue ribbons and spiritsticks. Porter Stiles' selection as Best Mascot at the camp led to him being named as a National Cheerleading Association All-American mascot. Miss Minnix was chosen as best indi- vidual cheerleader at the state basket- ball tournaments in Charleston in Febru- ary. The hard work and dedication brought recognition to the squad and the college. As the football team gets ready to kick a field goal, Donna Knotts and Jeff Morris lead the "FSC" cheer. 10/Cheerleaders Captain Crazy, Porter Stiles, seems to get in on everything. Here he cheers with Tim Belotte, Micki Edens and Rick Morris. Being able to cheer in nice weather is a rare treat and Micki Edens and Rick Morris take advantage of the opportunity. After a mount, Julie Gainer falls safely into Jay Messenger's arms. Cheerleaders/ 1 1 Under a hillside tree, one of Michael Elliott's classes meets on a beautiful June afternoon. A June morning storm overshadows Wallman Hall and outdoor lights appear all over campus. Warm weather gives students a chance to walk around the beautiful campus. The hill in front of the Feaster Center becomes a place to relax as these students take a break from class. *3*,-jlJ 12/The weather Mother Nature 101 Small water puddles formed at the foot of every occupied chair. Students left the warmth of home a few minutes early to trudge through snow to reach class on time.


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Firemen and police did everything they Bailing out! could to evacuate everyone, so no one would be injured. Firemen had to break out the window of one building to remove two students who were trapped inside. Their refrigerator had floated across the door blocking it and making it impossible to get out. All this added to the excitement of freshman orientation. The electricity was off for several hours, hindering the regis- tering of freshmen, the purchasing of books and supplies in the Bookstore, and freshman activities. When power was restored around 11:30 a.m., residents began cleaning up what could be saved and students re- turned to their daily routines. "Mess" is not a good word to explain the condi- tions that were left when the water had gone down. President Hardway and Lee Karlen watch as the flood waters go down in the Morgan Hall parking lot. 18 Flood Morgan Hall residents wait as the water goes down so that they can return to their building. The flood waters lifted cars up and floated them on top of each other in the parking lot at Morgan Hall. Flood/ 19 Performers of "Night Sky,'' a bluegrass band, sing behind the LRC Building for a special event of the Spring Fling. TOMMY OiT TONIC Hand accuracy juggling is one of the featured acts of the Tommy Scott Old Time Medicine Show. Michael Belmear discusses the ins and outs of bet- ting on horses to students who attended A Nite at the Races, fund-raiser for United Way. 20/Campus entertainment Odds & ends entertainment After going to classes, writing essays and research papers and studying every now and then, students needed some sort of enjoyment to break the monotony of ordinary college life. FSC answered this need by offering several campus activities to relieve the pressures of college.


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It was a real live beach party. Surrounded by summer decorations, boppin' beach music and swimwear and shorts, students enjoyed a beach party away from the beach. Competition was held for a muscle beach showdown where male physiques were judged by crowd reaction, a dance contest and an Annette Funicello look- alike contest. To end the year, a Spring Fling, a week- end full of contests, prizes, concerts and fun, was held May 1-2 to promote a re- laxed atmosphere before finals began. Events included a hot dog munch, the winner designated by the person who ate the most weenies in three minutes, a fris- bee distance throw, a co-ed frisbee relay race and a co-ed tug-of-war. "Bad Boy," a rock and roll band of FSC students, performed Friday, May 1, in the Nickel. Saturday's activities began with a Fun- Run at 10 a.m. which covered a 1.2 mile distance around campus. Later that even- ing "Night Sky," a bluegrass band, per- formed behind the LRC/Library Building. They not only sang bluegrass, but also folk-rock, country and jazz. Many students were reached through these fun-loving odds and ends entertain- ment. They brought good times, laughter and many memories. Several students are on hand to enjoy jazz, coun- try and mainly bluegrass music provided by "Night Sky." Voted best dancers are Darlene Brown and Steve Dawson while beach boppin' at the first beach party held in the Nickel. Campus entertainment /21 Graphics major Mike Sauro prepares a layout for a local business. Reaching for the top 40 record is Crystal Rogers, part-time employee at Camelot Music. 22 Jobs 'We need money' "What are you doin' tonight?" "Can't go out; I gotta work," is a com- mon statement made by students. Besides attending classes, many stu- dents work part-time in jobs ranging from fast foods to nurses aides.


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Sherman was a series of small skits. Auditions for Masquers productions were open to everyone and were held three different nights approximately two weeks in advance of the rehearsals. Rehearsals were held five days a week for five to six weeks before opening night. The plays usually ran three nights; how- ever, this year the lighting in Wallman Hall auditorium was damaged, and the pro- ductions were held in the Ballroom and in a small dinner theatre in the Wallman Hall Building. Because less seating was avail- able in these rooms the productions were held three extra nights. Back from one dream, and before going to another, Walter Mitty (Mark Lemasters) drives his wife (Kim McDowell) to the hairdressers. Upon arrival at her new location the nun (Cathy O'Dell) questions where she will be staying. It is time for a discussion between Father Rivard (Tom Stevick) and Amos (Tim Pirlo) about the killing of the nun. Theatre/33 Problems impose Future Miss FSC Cindy Phillips poses for the judges in her streetwear attire. Thirteen coeds vied for the Miss FSC 1982 title April 6 in the Wallman Hall audi- torium. Atter viewing each girl in streetwear, swimsuits and evening gowns, the five judges announced four finalists. Masquers candidate Kim McDowell, Miss Morgan Hall Cindy McWhorter, Phi Mu representative Amy Phillips and Miss Prichard Hall Cindy Phillips each stepped out of the line as their names were an- nounced. Later in the pageant, each fina- list chose an envelope, containing a question by the judges, from emcee Rick Donko. Cindy Phillips, a freshman physical therapy major from Paden City, was named Miss FSC and crowned by Kelly Carr, Miss FSC 1981 and Miss West Vir- ginia-USA. Prior to the pageant, each candidate or her sponsor paid a registration fee of $30, five more than in previous years.


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"When I was in seventh grade, I won Little Miss Peters- burg; that was my first title," the 19 year- old coed related. With her new title, Kelly represented the state in parades and at the Miss Pennsylvania and Miss Ohio pageants. "Ohio, Pennsylvania, and West Virginia are all under the same Miss USA pageant director, Carmine Verno. From the time I was crowned, I signed a contract stating he's over me whenever I wear my crown and banner," Kelly continued. The three state winners each won trips sponsored by Thomson's Vacations. Along with Miss Ohio, who was later crowned as Miss USA, Kelly spent a sev- en-day vacation in Aruba in January. Carmine prepared the three for the USA pageant. "He helped me polish my speaking and wording. However, he said he loved my accent," the junior retail management major added. Kelly's state costume for Miss USA, a futuristic hillbilly, was Carmine's idea and designed by Dick Frank. "I love my outfits for the pageant, which include the cos- tume, a gown and an outfit for my inter- view." Kelly left for Buloxi, Miss., the site of the pageant, May 6. The 51 contestants arrived there two weeks before the May 21 pageant. "I was a little nervous," Kelly said. "There were 50 other pageant winners there also. I went with the attitude to have a good time." And with a smile she added, "I was proud to represent FSC and the state." Miss FSC/ 35 Arms swayed in the air, students boo- gied in the bleachers and music rang out on the campus as Student Government brought five major concerts to Fairmont State. The concerts, ranging from cultural shows to hard rock performances, gave students a break from classes and daily routines as they came to share five even- ings with famous groups on stage.


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Glenn Miller Orchestra: Shouts of "whooh," people dancing in the aisles and sounds of clapping hands filled the Feaster Center Sept. 10 when the Glenn Miller Orchestra brought the 40's era back to Fairmont. The 8 p.m. concert was filled with two hours of famous tunes such as "Tuxedo Junction," "Pennsylvania 6-5000" and "Chattanooga Choo-Choo." Jimmy Hen- derson directed the 17-man brass or- chestra which featured two soloists and the Moonlight Serenaders, a sixtet. The audience of 2,000 ranged from longtime Miller fans to recent rock lovers. For the spectators, it was an evening of fun, and for some, it was an evening of memories. Harry Chapin: Starting Homecoming festivities on Oct. 20, singer-songwriter Harry Chapin performed two and one-half hours of his music in the Ballroom. The music, covering a span of a dec- ade, included his "Cats in the Cradle," which led him to be nominated for a Grammy in 1972 for new best artist. Other songs, "Taxi" and its "Sequel," inter- twined with audience participation tunes such as "Bananas." "I enjoyed Harry's concert," stated student Karl Miller. "He had good one-to- one correspondence with the audience. He was really down to earth." Chapin's 'down to earth' style brought him his fame. "Songs are like a book or a movie, they tell a story, and that is what I try to do with my music," Chapin stated. Chapin did the concert as a benefit for World Hunger after he was appointed to that Commission by former President Jim- my Carter. This concert was one of 150 benefits performed each year by Chapin On stage and his band. Little River Band: A major arena show came to the Feast- er Center Oct. 26 via the Little River Band. Prior to the Australian band's perfor- mance, former "Make a Wish" star Tom Chapin helped the audience receive the group.


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Chapin, lone with guitar, had fans clapping and singing with his seven bal- lads and audience participation songs and tales. As Chapin introduced the band, the 4,000 in attendance jumped to their feet in roaring applause. Little River Band hit the stage with "Happy Anniversary" and a spectacular light show. The two-hour show spanned years of hits such as "Lady," "Reminiscing" and "Lonesome Loser" as the crowd begged for more at the show's close. After minutes of non-stop applause, the vocal harmony group presented two en- cores to cap the evening and Homecom- ing Week. Entertainment sometimes comes in solo form for Harry Chapin. Chapin appeared in Fairmont without his back-up band. Vocals and strings lend harmony as a Little River Band guitarist joins in with "Lonesome Loser." Another Chapin, this time it's brother Tom, sings a tale of love for the Homecoming audience. 36 /Concerts Talented on the trombone, Jimmy Henderson takes a break from directing to play a solo. Even without a guitar, Little River Band's lead singer gets into the act. Concerts/37 A more relaxed tune is presented as Nantucket prepares the audience for Cheap Trick. 38; Concerts On stage (cont.) Kool and the Gang: March 17 was an evening of "Celebra- tion" for area fans as Kool and the Gang hit the stage in the Feaster Center. Attired in jumpsuits, the nine-manned group treated everyone in the audience. Female fans were honored when the group sang their special "Lady's Night." The concert mood changed during a mellow tune when the group asked the audience to join hands and have a mo- ment of silent prayer for the children and victims of the Atlanta killings. The pounding tempo of "Celebration" ended the evening as the Feaster Center once again came alive with dancing, clap- ping, and singing.


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They opened the concert with "Hello There" from their first album and contin- ued to work the crowd into a frenzy with songs like "Surrender" and "Dream Police." The highlight of the concert came when a group of FSC coeds, who were hiding behind Carlos' masks, came dancing on stage to a deep jungle tune. All in all, it was quite an evening for rock fans in Fair- mont. "It's too hot" sings Kool and the Gang's lead singer Behind stage, a member of Cheap Trick's stage James Taylor. Taylor has been with the group since crew checks the sound equipment prior to the con- 1969. cert. Two Little River Band members jam with the group. Concerts/39 Art students view one another's outcomes of a days work. Not only are students artists, but also creative cooks as seen here by Hank Orr. Porter Stiles dances with one of his fellow artists during a time out from painting at Rehoboth Beach. 40 Student trips HittirT the road Rehoboth Beach: Summer was not meant to be spent in a classroom. Especially if you were en- rolled in an art class. These art students, their guests and Dr. Stephen Smigocki packed their bags and migrated north to the beaches of Delaware for 10 days of painting and drawing the coastline's na- ture and natives. They explored Lewes, Cape Henlopen, Dewey and Rehoboth Beaches, the boardwalk, and even ventured into Ocean City, Md., for one night. Not only were they artists, decent cooks, dishwashers, fish cleaners, shop- pers, but also people who thrived on hav- ing a good time. However, on the sixth evening of their trip, a storm hit the coast which left the artists relieved that their tents were among the few in the campground spared of any damage. Once in a great while, they found the time to trot off to the marinas, sand dunes and towns, paint box in one hand, water colors in the other and a portfolio shoved under the arm.


From Myst To Riven: The Creations & Inspirations [Hyperion] (1997)

After noticing the toy ship submerged in the fountain, the player must first discover the related clue in the tower behind the library before he will be able to figure out which three symbols (above) to press in order to access the Stoneship Age book. Rough sketches and handwritten notes were made for all the Ages in Myst, including Stoneship (above), in order to develop the mysterious character and plot of each setting. Among other places to explore in Stoneship are the lighthouse and telescope plateau (above right), the submerged ship’s darkened cabin (below), and the bedroom in which the “red” page is found (bottom). When Myst first appeared, it was hard to know what to make of it as a game. It was clearly something new, something no one had seen before. There were no guns in Myst, no overt violence, no time limit, and no score- board. You, the player, were literally dropped onto a strange island with no instructions and no apparent goal. There were no people, only artifacts in a weirdly beautiful landscape—a wharf harboring a sunken boat, a planetari- um, a library, a spaceship, a clock tower. Instinctively, you asked the first questions without being prompted: Who created this island, what were all these buildings for, and why were there no people? And then you began to explore. The eerie music and sound effects that accompanied your every step only heightened the sense of mystery. Myst was a game because it contained puzzles the player had to solve in order to learn anything about the island. It was a challenge that rewarded observation and brains over reflexes. Secrets were revealed through audi- tory as well as visual clues. Within Myst’s dreamlike structures the player came upon smaller, but equally fascinating, objects and machines with dials, levers, and buttons that all had a reason for being there, that made sense only if the player could figure them out.


They also had more capital to support their software company, Cyan, and to hire additional people if need be. It was at a computer conference in California a few months later when the Millers encountered Richard Vander Wende, who, among other compa- nies, had worked at Industrial Light & Magic and Disney. Richard's keen interest in Myst impressed Rand and Robyn, as did a portfolio of art that was breathtaking. After talking with him for three straight hours, the brothers invited Richard to visit them in Spokane. While they immediately sensed the value of adding Richard's perspective and talents to their plans for the sequel, it was important to explore a little further how their relationship would work. But after that visit, it was clear to them that he could fit right in. Once Richard agreed to join them, Riven’s creative team consisted of six people: Robyn, Rand, and Richard, plus Chris Brandkamp (who, in addition to being Cyan's financial officer and business manager, had recorded the sounds for Myst), Rich Watson and Joshua Alton Staub, the computer graph- ics production director. With their combined skills and the money Myst was pumping into the company, they figured they could knock out Riven in a couple of years at most, They couldn't have been more wrong. While there are many recognizable structures and objects in Riven, there are also some of the most imaginative and eerie images ever created, including the bulbous, podlike dome the rebels use as a hideout in their own secret Age (left). Richard Watson Joshua Alton Staub Robyn Miller fine-tunes one of the maps used to describe the physical layout of the five Islands of Riven Robyn M. car-net Many at Cyan, Inc., fondly recall the days spent crammed into Chris Brandkamp’s garage (above) where Riven was started.


The certain parts thet you The D'ni symbol (above) From a visual standpoint alone, however, Riven builds on the oddly Guitefame mmadel for 2 aratanate Soe munDeL Ne: entrancing surreal styling of Myst and then surpasses it in ways that will Stoneship Age from Myst through them. blow these tourists off their feet. With SoftImage software, Cyan's computer artists were able to construct incredibly complex and refined computer models for all the game's objects—everything from the largest islands and buildings right down to a machine's levers and tiniest bolts. Over these models the artists applied highly detailed and realistic texture maps, which are the skins the artists wrap around the models’ wireframe skeletons—like bark over a tree, if you will, or steel over a sub- marine’s frame. If done right, a player entering a scene might pause to wonder if this were actually a photo of a real place or object, not something contrived out of computer program code. ‘Total believability—that's our goal,” says = al Robert Grace, a CG artist at Cyan. For the people : = ; iW at Cyan, there could be no higher compliment But the Riven team’s ambition didn’t stop at designing realistic scenes and objects. They wanted Riven to be alive. This The tower rotation map in the library on Myst : island presented’tke meant not only creating fantasy flora and fauna for the game, but animating first significant test of the player's puzzle : Sold to a wooden hut or a steel submarine, but how did one bring to life the wahrk, Riven's enormous whalelike ocean predator? them as well. This added new challenges. It's one thing to animate the door V4 Gehn to Atrus fter their Seattle trip, Rand and game elements that would become Riven, although details and names would continue to change right up to the very end.


They first called the game Equiquay (the idea being that Riven had become a common linking port). Ultimately, they settled on Riven, the name for the island in Gehn's fifth Age book, where Atrus previously conspired with Catherine to entrap his father, whose delusions of grandeur had made him ultimately dan gerous to everyone. Catherine, unfortunately, has been tricked into return ing to Riven by her sons, who were also seduced by the power of Age books And she is now Gehn’s prisoner. Riven's world is a collection of islands Unlike Myst's world, Riven is inhabited, both by forest-dwelling villagers and a rebel faction opposed to Gehn’s heavy-handed rule. Even some of the most important goals of the game were clear from the start: the player had to entrap Gehn by enticing him with a false Linking book, rescue Catherine and jump into the fissure of stars at the end. The added twist was that the Linking book is stolen from the player at the very beginning of the eS game and it’s up to him to figure out how to get it back before he encounters Gehn There were, however, major differences and possibilities discussed during the game's early design phase. In Rand's 4 yf D) @) oh FV asdina Mr, 7th, Wh tl curl lt Pee ne..SLOry a /) mud Ptges. Uayins of Then. / 5 ee till, oll Ved! TE prety Hy ) ) Dink, Pt@iw, lanl won ah Ou aactd Tash. if A ROE Fay original notes, he wrote that Catherine was being held pris- poplale Dhan. 2 fll “yo Th oner in another completely separate Age, but then the idea of FES wilh wa ith Wolk, we other Ages was dropped because Gehn was supposed to be ik! Any Pree govn, 10 Thal trapped on Riven without any books to write in or link z% Di wi Si, Sm Prin. 5 through.


They built scaled-down versions of some of the more complicated and frequently used models. It was frustrating aesthetically. In the case of the trees, Robin Foley had modeled a lifelike 3-D version of them, and the artists would have preferred to use that as-close-to-perfect-as- they-could-get version as much as possible. The full version was smooth and lifelike, whereas the simplified model was always faceted—its edges covered with the tiny shark-fin ridges that are a dead giveaway fora computer graphic. But most of these images were small enough that the facets wouldn't be visible to the naked eye, and therefore drop- ping ina simplified version of the model often meant the difference between a scene that rendered and one that didn't. Polygons weren't the only thing the Riven team had to worry about when it came to rendering. Each scene required properly organized schematic flow charts that verified for the computer system how an object in a scene related to each of its parts and to other objects, which In order to save time in rendering, several versions of a model with varying complexity were created and used accordingly. The two models of the trees (left top) on Temple Island, for example, illustrate the differences in complexity of the inner structure. Depending upon the scene, Cyan would use the simpler model (on tight) when less detail was needed and the more complex one when very fine detail was required. The same two models are shown in shaded and partially colored form (left middle). In certain cases, an image might contain examples of both kinds of models (left). Note the tree in the background (simple model) and the one in the foreground (complex model). Schematic flow charts created in the software to track the hierarchical relation between every scene, object, and detail, including animations, were the blueprints for analyzing the structural integrity of the image.


The prison itself sits atop a massive tree that has been hacked off at its base, no doubt for Gehn’s bookmaking experiments. The core elements of the design for this wretched outpost are seen here, including the color (above right) and bump maps (below right) applied to the shaded model (far right). The finished design appears on the following spread. 66 Michael Bostick View of Catherine’s prison from the top of the stairs leading to the elevator. Concept designs for the huge boiler on Book Assembly Island. The sketch at right is closer to the final design seen in the game. 7o As with every other aspect of creating Riven, Cyan’s greatly expanded resources and computing power allowed the designers and artists to push to reme levels of detail and uniqueness in creating the textures to be rather ex applied to the models. In Myst, the surface of a tree, for instance, was com posed of a small section of barklike texture repeated as many times as need ed over the model of the tree. With Riven, in addition to creating much larger maps, a texture composed of seemingly repetitive materials would, in fact, consist of an untold number of uniquely customized surfaces. The boiler on Book Assembly Island, which Gehn uses to turn trees into pulp fo paper, is a case in point. A look from closeup on the catwalk surrounding the boiler reveals that in every place careful thought has gone into designing the textures that cover the model. Levers are not just metal colored. They have grunge on them and are worn down in the appropriate places from 2 years of handling. The bricks are pocked and discolored- all of them differently! And the assortment of drips smears, and corrosion that have been applied to the metal pipes and plates is, simply put, excessive But Cyan wouldn't want it any other way.


Jeremy Engleman the world from six feet off the ground in a hallway and suddenly find your- self eight or ten feet in the air after entering a room. It would also not make very much sense if the player having, s y, moved a lever in one shot, turned around in another only to find the lever back in its or iginal position. Because the player can change things in the game, the designers went to some extra- ordinary lengths to make sure every possible combination of events was included, so that there would be no break in continuity This series of images (from top to right) follows the path down to the sunners lagoon on Jungle Island. Approach too fast or make a noise and those sunners will take right off, which is too bad since they provide an important clue. While the transitions between scenes is important for main- taining a concrete sense of place and perspective in the play- er’s mind, it is equally significant as an opportunity to create dramatic tension and heighten the emotional response of see- ing. Riven takes full advantage of these moments. A good exam- ple is the walk down to the sunners lagoon, modeled by Jeremy Engleman, on Jungle Island. You begin in daylight by moving down a set of stone stairs cut through a solid wall of rock. As you progress, the rock walls climb higher around you, until it almost feels as if you are in a cave. The light has vanished sounds have deadened. The sense of the island as a whole has diminished to this claustrophobic crack in a dense slab of granite. Then, barely visible ahead, a crescent of light shines faintly around a bend in the path. The light begins to pull you through the gloom.


Upon linking to Riven, the player is rudely greeted by a cage of bars that imprison him. These bars, in fact, are both CG and real. After they rise up trapping the player, they change from CG to real because moments later a guard steps into view and approaches the cage. For this live action portion of the scene, real bars were included because the guard bumps into and reaches through them and also in order to produce the proper shadows and reflections. The guard grabs the Linking book the player received from Atrus and steps back, but he is Michael Sheets The stage crew prepares to film one of the scenes with Atrus's wife Catherine, played by Sheila Goold (left), The filmmakers setting up to shoot the cage (below) which springs up imprisoning the player upon his arrival in Riven. All of these segments were shot on video and composited along with the computer graphics into the game. Richard Vander Wende spent three weeks directing the video shoot at the PVR studios in San Francisco with Tim suddenly darted and dragged off stage. A rebel appears and picks up the Linking book. He pulls a lever and disappears. The cage begins to descend, and Greenberg acting as assistant director. Getting to that point, however, involved ten months of prep work. Richard and Tim co- scripted all the scenes, sections of which had to be translated into the D’ni and Rivenese languages developed by Richard Watson for the game. Once actors were cast, they had to learn their parts phonetically. Additionally, the scenes had to be blocked out on the computer, so that the actors movements could be accurately staged to fit the shot. Finally, they needed an assortment of costumes and props, including bolos, Gehn’s dart- gun, his fire marble pipe, the guard’s knife and sheath, a small rebel knife, and a scythelike rebel tool.


In his hands is the rifle pictured at the top of the opposite page. From left to right, Rand Miller, Richard Vander Wende, and Tim Greenberg observe the action. If something could not be set just right, there was always the option of tweak- ing it in the computer later in the process, perhaps adding some additional lighting or shadows that weren't but should be there. In one case, it was not a blocking or lighting issue that called for some creative retouching. Rather it was a problem created by scripting the scene in Gehn’s Age without any cuts. John Keston, who played Gehn, found it dif- ficult to act the long scene out in a completely satisfying manner from begin- ning to end. Being digital artists, however, the Cyan team resorted to “morph” editing, using Elastic Reality software to combine their favorite parts at points where Gehn was basically in the same position in two differ- ent takes. He simply morphed from one portion of one take to another in the same sequence. As easy as Ultimatte was to use, however, it didn’t solve all of the artists problems when it came to combining video and computer graphics, particu- larly when the graphics involved animation. At another point in the game, as the player is making her way down a stone corridor toward the Wahrk Throne Room she sees one of Gehn’s ministers duck into a side tunnel. If she chooses to follow, she eventually catches a glimpse of him inside the Mag-Lev car. Simple enough except that the car then turns 180 degrees and speeds away. This meant that not only did the animators have to place the actor in the car, but they had to match the speeds of the actor and the car animation as the vehicle turned.


For Josh, “The key is to cut corners in ways that don't affect the quality of the image.” In every stage of the process, the artists resort to "previewing" as a way to view a model or a textured polygon without actually having the computer render it. In this way, they could move as fast as possible, making quick edits and tweaks before choosing to render that particular stage of the shot. If they were working with an object, they didn’t bother including the setting behind it until it was necessary. And if the resolution appeared low and the edges of things a little jagged, they knew it would be crunched up later when, in the final stage of rendering, anti-aliasing is applied, Along the way, the artists maintained a close eye on the problems that might be developing in a scene. While in certain cases the software itself threw in its own bugs, it was usually a case of too many polygons or textures—or a combination of several things—in the shot. When Jason Baskett was modeling and con- structing the jungle scenes, he had to deal with an enormous amount of 98 Considering how long it could take to render some of Riven’s gargantuan shots, section by section (above), it was also a good time to make some phone calls or eat some lunch. Jason Baskett Gehn’s writing desk (detail above) would probably have died in the rendering stage if the designers had chosen, arbitrarily or not, to place one glass in front of the other, requiring massively more computing power to ray trace the light paths properly. In the beginning, the Riven team thought it would create and render the whole game with the three original SGI workstations. By the end of production—after reality had settled in hard, and early—Cyan had invested in four massive SGI Challenge servers to do the rendering.


Fashion International, October/November 1991

We offset that by giving them a discount which covers the duty and the freight in order to be competitive.” And, even with the hurdles they have had to overcome, Miller believes that there are some excellent oppor- tunities for retail distribution in the U.K. In her ranking of the European TOM SMITH swings the skirt on a viscose/linen suit, adds decorative matte gold buttons on the four pock- ets and neckline of the long and shapely fly front jacket, and colors the whole in bright sunflower! At CLAUDE RAP, the soft shouldered wool gabardine suit in dusty powder blue is beautifully detailed with three heart shaped pockets and curved seaming on the fitted jacket. Designers are having fun with pat- tern and texture. Fall’s tweeds, plaids, and checks are being reinter- preted in new colors. Novelties too are getting a fresh play. CHRISTIAN DIOR’s lovely black/ white silk glen plaid one-button suit with shawl collar is a great look for the executive; and for dressy day- time—the jewel buttoned coral and white silk blend houndstooth check. Its long slim jacket eases over a slim skirt. LIZ CLAIBORNE’s black and white check city suit is prettily detail- ed with curved black piping around the single-breasted jacket, and fin- ished off with a coordinating silk print scarf. At OLEG CASSINI, there’s a terrific black/white check gingham suit banded at the flap pockets in bright red, green, pink, and violet. The four colors alternate on the four buttons of the jacket. Also smart is their black/white viscose plaid cutaway double-breasted jacket over box pleated skirt. OSCAR DE LA RENTA’s outstand- ing new suit collection offers a fringe countries in terms of distribution dif- ficulty, she places Italy at number one and Germany second.


Ecstasy's Dawn (1983)

The so- lemnity of her thoughts was written all over her youth- ful face. Completely unaware that she was being observed, she did nothing to conceal the torment in her eyes. Al- though she was a distance away from him, her observer had no difficulty in studying her. The moonlight shin- ing down on Rachel illuminated every feature of her face. Leaning his tall frame against the wagon wheel, John Reynolds concentrated on the lovely girl standing apart from the others, when it was so obvious that she would rather have been dancing. He found it quite easy to read what was on her mind and he also knew that her fear of not being asked to dance would be short-lived. She was too attractive to go unnoticed for very long. Not taking his eyes from her, he reached into his pocket, removing a cigar and match. As he struck the match across the wagon wheel it flared into life. The sudden glow from the match startled Rachel, and she whirled quickly in his direction. She recognized him to be the same man she had seen from her hotel window, only now he had exchanged his Yankee uni- form for buckskins. Dressed this way, in the frontier tradition, she found him even more attractive than be- fore. Rachel knew that his eyes had been watching her over the glow of the match before he extinguished it. Now in the darkness, she couldn’t tell for sure if he was still watching. During those few seconds when she had seen him so distinctly, his face seemed to become im- planted in her mind. If she were never to see him again, 28 she felt she would forever remember his face. Rachel had no way of explaining to herself the effect his presence had on her.


Ecstasy's Dawn (1983)

She noted he was shrewd enough not to look at her that way when her father was near. She only caught a glimpse of Josh a few times. She wondered if she’d ever have the opportunity to speak with him again. Rachel found the tedious journey not only terribly boring, but extremely tiring. Sometimes she didn’t 70 know which was worse, being roughly tossed about in a wagon, or wearily placing one foot in front of the other and trying to walk the dreary miles. The wagon train crossed into Nebraska at Cotton- wood Creek and then headed northwest to the Platte River. The green fields of Kansas were gone, replaced by the sandy hills of Nebraska. Rachel was walking beside the wagon when she caught her first sight of the Platte River. She was aston- ished to find it was so unbelievably flat. It also appeared eerie to her because nothing seemed to be moving, or to be alive, over the vast landscape close to the river. Then with repulsion, she saw there was life on the banks of the Platte. Lizards were busily squirming over the sand and darting through the tall grass. At the sight of the disgusting creatures, she hurridly climbed into the wagon, deciding it was better to ride than to walk. Rachel forgot her disappointment over the Platte River when she was astounded by her first glimpse of the natural landmark called Courthouse Rock. Its sum- mit, resembling a castle, towered four hundred feet above the plains. Even though the wagon train made twenty-five miles a day along the Platte, for two days and nights the colossal Courthouse Rock remained in view. The next landmark, Scotts Bluff, materialized as a blue mound on the horizon. It became larger as the wagon train traveled along the Platte.


Ecstasy's Dawn (1983)

As far as she was concerned, if the wives or soldiers found her apparel disgraceful, then that was their problem. Because Rachel lacked conceit or expe- rience, she was too modest and naive to realize how sensual and enticing the soldiers would find her. Wom- ‘en were so scarce on military forts that even the homely ones became immediately popular. But the spectacular vision of the beautiful young woman riding into the fort, wearing tight pants that outlined the shape of her long slim legs and feminine full hips, would curse many a soldier with sleepless nights on his lonely bunk. As John Reynolds and Rachel rode into Fort Lara- mie, the settlers on the wagon train began to set up camp nearby. The women excitedly left their wagons to 106 hurry inside and shop at the trader’s store. The men headed straight for the enlisted men’s bar, where wine and beer could be bought. They had stopped at other forts along the Oregon Trail but none of them had been as large as the well- known Fort Laramie. It was built resembling a hollow square, with adobe walls fifteen feet thick. Heavily fortified blockhouses stood at each corner, and inside was a vast courtyard. A large number of trappers and trading Indians visited the fort, and traveling wagon trains always camped and remained for a few days. Rachel was finding the fort stimulating after the lonely barren plains. Then, suddenly, she became con- scious of the admiring stares she was receiving from the soldiers and the fur trappers. She wondered if John had noticed how the men were following her with their eyes. Glancing over toward him, Rachel was surprised to find that he was watching her. When he smiled at her, and winked knowingly, she completely forgot the sol- diers and the trappers.


Ecstasy's Dawn (1983)

But shit, as hot as I am fer her, you ain’t gonna have to wait fer long.”’ Rachel knew her only hope to be rescued was to scream, even though she realized the huge man would ruthlessly punish her. But there was no way she could elude the two men, and if by some miracle she did, she’d never outrun them. Finding the bravery that had been born and bred into her, Rachel screamed! Tightening his grip on her hair, he jerked Rachel to- ward him, striking her across the face with the back of 116 qe his other hand. ‘‘Shut up, you damned bitch! Scream again and I’ll kill you!”’ Using the strength in his pow- erful arms, he shoved her violently to the ground be- hind the low bushes, as a deep blackness overcame her. Coming slowly out of that peaceful state of uncon- sciousness, she was horrified to see Judd kneeling be- tween her legs lifting her skirt. Rachel tried in vain to move her arms to push him away, but became terrify- ingly aware that they were being held forcibly over her head by Luke. Noticing she was again conscious, Judd grinned down at her hideously as he moved his tongue back and forth across his saliva-covered lips. When he placed his large hand over her breast, Rachel tried desperately to scream, but alertly Luke put one of his hands over her face as he whispered hoarsely, ‘‘Does that feel good, bitch? Ya just wait, ole Luke is gonna kiss on ’em.’’ The man became uncontrollably aroused from watching Judd caressing the beautiful young breasts and unconsciously he removed his hand from Rachel’s mouth. Courageously Rachel took a deep breath, and once again her agonized scream carried piercingly through the quiet night.


Ecstasy's Dawn (1983)

Often during the long journey to California, he and Zeke would stop by her wagon to visit, but always John had an aloofness about him that she couldn’t understand. For some reason, the man she loved had made himself a stranger to her. Zeke, sensing Rachel’s loneliness and love for John Reynolds, charitably gave Rachel most of 124 his time. The moments they shared soon developed into a deep friendship. Following long weary weeks of traveling, the wagon train finally reached Hasting’s Cutoff which led to the California Trail. From the northwest tip of Utah they moved southwest across Nevada to the sluggish Hum- boldt River, which was inseparable from the California Trail for two hundred miles. The Humboldt offered needed water and green intermittent meadows for the oxen and livestock. Along the river could be seen the shallow graves where emigrants before them had buried their dead. Also there were the skeletons of oxen and mules, that had perished because their owners had left too late to take advantage of the scarce grazing land in the barren localities. The crumbling wood and rotting canvas from abandoned wagons would remain beside the river for years to come. Diggers, the tribe of Indians along the Humboldt, were unfriendly. Often they could be seen hiding be- hind the tall grass, peering at the passing train. They would silently wait for their prey, then discharge their arrows into the oxen. A dead or injured ox would have to be left behind, supplying the Indians with fresh meat. A few of the emigrants on the wagon train never sur- vived to reach the Forty-Mile desert, but considering the dangers of the perilous journey, the loss of lives had been minimal. Before crossing the desert, the pioneers rested and camped for two days.


Ecstasy's Dawn (1983)

Neither of the O’Brian girls possessed enough busi- ness knowledge to question how their small sum of money had purchased a prosperous dress shop in the respectable area of town. They unquestioningly al- lowed Edward to handle the whole unfamiliar transac- tion. The two present employees, worried they would lose their jobs when the store was sold, happily agreed to stay on. The girls foolishly believed that the former owner came to the shop every day to teach them the op- erating procedures strictly out of the kindness of her charitable heart. The furnished living quarters above the shop were small, but adequate for their needs. It had a comfort- able sitting room, a modern kitchen, and two separate bedrooms. It wouldn’t have filled up a fourth of the space in their former beautiful mansion at the Knolls, but after six months of living out of a covered wagon, the tiny rooms looked like a heavenly refuge to them. 140 Quickly and with comparative ease, Edward man- aged to see that the girls were properly taken care of. Convincing the owner to sell the shop was very simple. He generously, with John Reynolds’ money, offered her twice what the place was worth, and she gladly agreed to teach the young ladies the business when he charmingly informed her of how much he would pay her for the inconvience. It was’ Deborah who willingly learned about the busi- ness and how to profitably operate it. Rachel half- heartedly tried a few times to concentrate and take an interest in the dress shop, but it bored her immensely. Her social life was so full and so exciting, that she ex- cused her indifference to their livelihood by telling her- self she didn’t have the time to learn. . . . After all, Deborah very seldom went anywhere unless Edward was taking them out; otherwise, she seemed to be per- fectly contented ordering fabrics, sewing dresses, and being proud of herself when the profits started to stead- ily grow.


Ecstasy's Dawn (1983)

Except this time, there was only the single wagon rolling endlessly over the empty plains. She missed the sound of whips cracking through the air to encourage the oxen to continue plodding steadily on- ward. Rachel wished she could hear the constant com- forting voices of the other emigrants talking and yelling to one another, as their wagons covered the long, fatiguing miles. Zeke guided them down through California and into the hot territory of Arizona. Even in late spring, the sun was unmerciful and unyielding as it shone down on the weary travelers. Although the trip was tiresome and exhausting, Rachel was glad to be away from life in the city. She had found San Francisco exciting and exhilarating, but surprisingly Rachel now realized that nothing stimu- lated her senses more than the wide-open plains. She could understand why men like John Reynolds and Zeke loved their untamed wilderness with a passion, and finally she understood what John had meant that 7/3 day when he told her he could never have stayed in Bos- ton or behind a desk.’ The vast plains of Arizona, however, weren’t in the least stimulating to Deborah. She was too deeply en- grossed in bitterness. She despised and hated herself for still being in love with Edward Phillips. All her life she had heard that it was terribly wrong and sinful for a white woman to desire a man with Negro blood. Debo- rah believed that she was not only sinning against God, but also against the memory of her parents. Appalled, she knew during the rare moments when she’d forget her parents and God, that if only Edward had loved her, she’d have willingly married a Negro. With deter- mination and constant effort, Deborah finally learned to bury those thoughts so far back in her mind that they no longer surfaced; but losing the one man she had so desperately loved, and the shocking discovery of his heritage had turned Deborah into a hard and cold woman at the tender age of seventeen.


Ecstasy's Dawn (1983)

Cavalry raised a storm of dust across the horizon. Zeke realized they had sent a scout ahead, who had seen the trouble, and rode hastily back to the troops to report the incident. The sound of the bugle sent the remaining Apaches fleeing for their lives. While walking away from his rifle, Zeke had his back turned to the Indian he mistakenly thought to be dead, and he did not see the slight movement the injured brave made. The girls, overjoyed at the arrival of the soldiers, were happily hugging one another. The wounded Apache soundlessly pulled out his knife and leaped towards Zeke. With the alertness and instinct of a mountain lion, Zeke pivoted away from the deadly blade in the warrior’s hand. The Apache was young and strong. He knew, even wounded, that killing the old man would be easy. Sneering at him, he raised the knife once more with intentions of ramming it into the white man’s heart. Rachel had moved away from her rifle, and she real- ized the closest weapon to her was Zeke’s old shotgun. With a speed she never knew she possessed, she reached for the gun. Rachel lifted the heavy weapon and aware of its wide pattern she didn’t waste precious time aiming but fired in the direction of the Apache. As the deadly buckshot tore parts of the Indian’s body into bloody pieces, the fierce kick from the huge gun sent Rachel sprawling backwards. Violently she hit the ground, the side of her head striking a protruding rock. The last she heard was Deborah’s ghastly scream as blackness engulfed her, and she fell into the depths of unconsciousness. 183 As Rachel slowly regained consciousness, she be- came aware of being gently lifted into strong, comfort- ing arms.


Ecstasy's Dawn (1983)

He 217 wished Deborah would give him the same kind of warmth and passion he was sure Rachel gave to John Reynolds. For different reasons, their secret was per- fectly safe with Deborah and Josh. Deborah kept quiet out of embarrassed shame for their disgraceful conduct, and Josh was silent out of his deep respect’ for both Rachel and the Colonel. Slowly Rachel walked a short distance from the others, and with an expression of adoring love obvious on her pretty face, she ignored the marching drill as she stared openly at John Reynolds. She watched him standing at attention and saluting the American flag as her mind began to drift back over the past three months since they had become lovers. Smiling to herself, she contentedly thought about the fulfilling nights they spent together in the privacy of his quarters and their long, quiet conversations which made her feel she could sit for hours just listening to his deep, clear voice. To stop the others from hearing, she brought her hand to her mouth to smother an uncontrollable giggle, as she remembered her boldness on the afternoon the Colonel had ridden in with his troops after a three-day absence. She had missed him so desperately, she had no inten- tions of waiting until evening before seeing him. Try- ing to appear casual, she had walked to his office and cautiously glanced around her to be sure no one was watching. Quickly she had opened the door and rushed into the room. By the splashing sounds coming from his bedroom, it had been apparent that he was in the pro- cess of taking a bath. Smiling slyly, as she remembered that night in Kansas when he had brazenly invited her 218 to join him for a bath in the river, she had swiftly pushed in the bolt, securely locking the door.


Ecstasy's Dawn (1983)

Similar to John Reynolds’ home, it was white 280 adobe with a red tile roof, but there the resemblance ended. Rachel’s new home was built like a fortress with a large fountain in the center of the courtyard. It was sur- rounded by a radiant flower garden of bright and multi- ple colors. The bedrooms situated upstairs were com- pletely separated from the lower floor, accessible only by one of the flights of stairs located on the outside, one in each corner of the hacienda. They were married in the spacious and beautiful parlor inside the Spanish hacienda. The room was so large, that in order to comfortably heat it, there was a fireplace at each end of the room. The furniture was covered in wine colored velvet, and the tables were all of a dark mahogany wood. An enormous crystal chan- delier hung from the ceiling in the center of the room. During the ceremony, the patio doors were left open and a constant breeze kept the lace curtains over the glass doors blowing gently back and forth. Rachel fixed her gaze on these curtains, and willed herself to become hypnotized by the swaying fabric. She refused to listen to the marriage ceremony, or to look at the man stand- ing beside her. When it came time for her to speak the marriage vows, the priest had to ask her twice to please repeat them. She forced herself to look away from the hypnotic swaying of the curtains, and unconsciously, she spoke the words that made her Sefiora Granger. There had been no guests invited to the wedding, ex- cept for Deborah and Josh. William Granger had a few friends he considered to be his equals, but they all lived too far away to attend his wedding on such short notice.


Montana outdoors

A newly hatched duckbill was less than 14 inches long and weighed about one and one-half pounds. Evi- dence from their bone structure indi- cates they grew very rapidly, more rapidly than is typical for a cold- blooded animal. This assumed rate of growth, together with the fact that they were apparently cared for, in- dicates that at least these kinds of dinosaurs were warm-blooded, Hke birds and mammals. We have found juvenile dinosaurs over five feet long in association with adults and therefore assume that once they reached approximately this length, they were able to leave the nest and forage for food, with their parents and in the protection of a herd. Some of the herds may have comprised several hundred individu- als. Another kind of dinosaur found in this area, called a hypsilophodont, al- so nested in colonies but, unlike the duckbills, apparently did not raise its young in the nests. Hypsilophodonts laid about 25 eggs, each of which was carefully pushed into the mud so that only the top half of the egg was visi- ble. Vegetation was probably used for incubation in this species as well, since adults were about eight feet long. The young hypsilophodonts hatched through the tops of the eggs, leaving the bottom half in the nest, undisturbed. The parents may have gathered the babies from all of the nests into groups to take them to forage for food very soon after hatch- ing. Although much of the information we have been gathering is to deter- mine how dinosaurs lived and in- teracted, we have also learned a great deal about how some of them died. For example, one deposit contains the remains of an estimated 100 adult and juvenile duckbills apparently killed in a massive volcanic mud slide similar to the recent Mount St.


Montana outdoors

Weeds fl^IlCl JVlSin by Paul Garrett MOST OF us refer to them as "water weeds," often pre- ceded by several expletives — especial- ly if they happen to foul our hooks as we are fishing, or entwine themselves around our propellers and interfere with our boating. In spite of these ob- noxious aspects, aquatic macrophytes are an integral part of the aquatic en- vironment. They perform many im- portant, beneficial functions, the most obvious of which are the pro- duction of food for waterfowl and cover for fish. The question involving aquatic macrophytes is usually: How many are enough, without being too many? Literally defined as "large water plants," aquatic macrophytes com- prise a wide spectrum of plant species visible to the naked eye. Most have specialized conducting tissues which carry inorganic nutrients obtained from soil and water, and organic compounds synthesized by the plant itself, from one part of the plant body to another. These are more properly called "vascular hydrophytes." Some kinds of algae form many- celled organisms resembling higher plants and these are included in the general term. Examples in Montana lakes are Chara, often called muskgrass because of its distinctive odor, and Nitella, recognizable by the whitish bands around the stems. Common submerged macrophytes in Montana include the pondweed family (Potamogeton genus), which includes over 20 species; water- milfoil (Myriophyllum exalbescens); coontail {Ceratophyllum demersum); water buttercup (Ranunculus aquatilis), and elodea {Elodea canadensis). Water weeds of some type occur in almost all aquatic habitats and what kind depends on the type of soil; depth, mineral con- tent, and clarity of water; current speed, and seasonal variations in water levels. Most water weeds are rooted in the soil and obtain mineral nutrients from it, as opposed to algae which must obtain nutrients from dissolved substances in the water. Research shows that many species of water weeds obtain from 70% to 90% of their mineral needs from the soil, depending on the soil type and mineral concentrations in the water.


Montana outdoors

Rocky, coarse gravels or poor, sandy soils are much less conducive to growth of rooted aquatic plants than fine, rich sediments, which have more available minerals and allow easy penetration of root systems. A few macrophytes, such as coontail, have poorly developed root systems and take most of their nutrition from the water. Others, such as duckweed (Lemna genus), are free-floating and have vastly reduced root systems. It isn't surprising that these species are often indicators of cultural eutrophication, with which high con- centrations of dissolved inorganic nutrients are associated. Clarity of the water influences macrophyte growth by regulating the intensity of available light. Aquatic plants are limited at a light intensity lower than or equal to, or slightly less than, 5% of the average light intensi- ty at the water's surface. This usually occurs at depths between five and 20 feet, although light penetrates some very clear lakes (such as Yellowstone) to allow growth at depths up to 30 feet. Water turbidity, which limits light penetration, may be due to plankton algae, sediment, or dissolved substances. Suspended sediment af- fects rooted aquatic plants by reduc- ing light penetration and by smother- ing young plants as it settles out. In some cases, sediment deposits provide a rich habitat for rooted plant growth, demonstrated by the diked dust control ponds at Canyon Ferry Reservoir near Townsend. Water levels and flow are contrcl'ed in these ponds by headgates, which maintain adequate depth and water clarity and allow abundant plant growth on the silt deposits laid down by the river. This has created ex- cellent feeding areas for waterfowl. Other factors influencing rooted aquatic plants are current speed and water level fluctuations. In rivers, In many locations on Georgetown Lake, water weeds such as big-leaf pondweed now cover up to 70'Vo of the lake's surface area.


Montana outdoors

But they also con- sume oxygen through respiration dur- ing growth, and decomposition after death. This can lead to problems of oxygen deficiency when the plants are overabundant, particularly in shallow lakes (Freezout Lake near Great Falls is an example). During decomposition, much of the organic material of these plants is released into the water as inorganic nutrients and recycled in the aquatic system. Thus, they act as nutrient pumps, cycling nutrients into the water. Conversely, they compete with algae for nutrients and light during much of the growing season and may suppress algal gowth below levels desirable for best fish growth. They are food for aquatic invertebrates, in- cluding zooplankton, mollusks, and insects, which, in turn, are important food for young waterfowl as well as fish. Decomposition is usually in- complete so the plants leave an organic residue which gradually ac- cumulates and is a major cause of the filling-in process inherent in natural lake succession. Rooted aquatic plants modify aquatic habitats by stabilizing bottom sediments and improving water clari- ty. They cool sediments by shading out sunlight, creating a layer of cooler water beneath the leaf canopy which provides a refuge for fish dur- ing the summer. They provide cover for game fish and forage fish — in some cases, too much cover, so that forage fish are less available to predaceous species and game fish are inaccessible to the angler. The leaf surfaces are habitat for tremendous numbers of aquatic insects vital to trout, and the vegetation is used as food and nesting material for water- fowl and furbearers. In view of the beneficial aspects of many aquatic plants, why are they so often objectionable in waters whose primary use is recreation? Simply, because they are capable of physically obstructing a waterway, as well as limiting the accessibility to fisheries resources. continued on page 13 photo: Larry Dech Don't Risk the Water by Christine Deveny You ARE hot and dry, and that beautiful, clear, cascad- ing mountain stream promises sweet, refreshing relief.


Montana outdoors

Once a cyst is ingested by an unsus- pecting mammalian host, it begins a precarious journey through the host's digestive tract. In the stomach, acidic conditions cause the organism to shed its protective cyst wall, and to emerge in a free-living form (the tropho- zoite). The trophozoite is much more vulnerable to the harsh stomach envi- ronment and, in order to survive, the organism quickly moves into the small intestine. There it attaches to the intestinal wall. Within a few days, it divides, multiplies, and colonizes the intestine with thousands of pro- geny in the trophozoite form. Some of the offspring remain attached to the wall, continuing to colonize the intestine, while others are excreted from the host's body. During this ex- odus, some trophozoites are capable of enveloping themselves in a cyst, which once again allows survival out- side the host. The less fortunate trophozoites which leave the host without forming cysts soon perish. Besides being the source of new Giardia organisms able to infect new hosts, the trophozoites remaining in the intestinal tract are also responsi- ble for causing the unpleasant symp- toms of giardiasis, of which diarrhea, abdominal cramps, bloating, fatigue, and weight loss are the most com- mon. Persistence of the symptoms varies from case to case. More "for- tunate" victims might have them for only a week, but others might be debiUtated for months. A visit to a physician is necessary for diagnosis and treatment. Giardiasis can be diagnosed when Giardia cysts are identified in stool specimens by a common microscopic examination — but it isn't always as easy as it sounds. In some cases, symptoms of giardiasis will develop before a significant number of detect- able cysts are excreted; it may take as many as three stool sample examina- tions or more before the cysts are found.