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The player's personal reserve is refilled from the team's energy bank; therefore, if every team member 'spends' their energy frivolously, the team will soon find itself without defenses, vehicles, or even a place to register stolen artifacts.
For this reason, a player should handle their energy responsibly, at least until their team has enough Generators under its control to support multiple energy-intensive activities.
In "XMP", players can choose to spawn as one of three character classes.
The classes have several different attributes, such as speed, armor and weapons.
All classes have a stamina bar and the ability to sprint; sprinting roughly doubles the player's base speed (determined by their class) and depletes their stamina bar at a constant rate.
In vehicles this is represented instead by a turbo bar, activated by the driver with the same key.
The player's speed is represented by a tall blue bar to the lower left of the HUD and an abstract value next to it; stamina is represented by the short yellow bar to the immediate right of the speed indicator.
XMP has three vehicles: Raptor, Harbinger and Juggernaut.
Like the player classes, each vehicle type has specific advantages and disadvantages over the other ones, like speed, armor and weaponry.
Driving a vehicle or firing a vehicle weapon uses energy from the team's reserve.
Throughout the battlefields are deployment points at which players can spawn after being killed.
Most deploy points can be hacked like generators and hence taken over by the opposing team.
Deployables can be deployed by a Tech or a Gunner.
The Tech can place automatic weapons and force fields.
The Gunner can place mines.
The game sold over 100,000 units in the German market by August 2003.
In the United Kingdom, it sold 40,000 units during the first half of 2003, which made it the fourth-best-selling computer game during the period.
Kristan Reed of GamesIndustry.biz wrote that "Unreal II"s performance was "less than inspiring after the hype and expectation", and that "a slow descent into budget territory awaits the game."
Papa Don't Preach
"Papa Don't Preach" is a song by American singer Madonna from her third studio album "True Blue" (1986).
The song was written by Brian Elliot with additional lyrics by Madonna, who produced it with Stephen Bray.
The song also appears remixed on the 1990 compilation album "The Immaculate Collection" and in its original form on the 2009 compilation album "Celebration".
The song's musical style combines pop and classical styling, and its lyrics deal with teenage pregnancy and the choices that come with it.
It was based on teen gossip Elliot heard outside his recording studio.
Released as the album's second single in mid-1986, the song was a commercial success.
It became Madonna's fourth number-one single on the "Billboard" Hot 100, and performed well internationally, reaching the top position in the United Kingdom and Australia.
It was well received by music critics and was frequently cited as a highlight in the album.
The music video, directed by James Foley, shows Madonna's second image makeover, featuring her with a more toned and muscular body, and cropped platinum blonde hair.
It portrayed a storyline where Madonna is trying to tell her father about her pregnancy.
The images are juxtaposed with shots of Madonna dancing and singing in a small, darkened studio, and spending a romantic evening with her boyfriend.
Shortly after its release, the song caused heated discussions about its lyrical content.
Women's organizations and others in the family planning field criticized Madonna for encouraging teenage pregnancy, while groups opposed to abortion saw the song as having a positive pro-life message.
Madonna has performed "Papa Don't Preach" in five of her world tours, the latest being the Madame X Tour in 2019.
The song also caused her first conflict with the Vatican, as she dedicated it to Pope John Paul II, who urged Italian fans to boycott her concerts during the Who's That Girl World Tour in 1987.
In 2002, British singer Kelly Osbourne recorded a hard rock cover of the song which was included as a bonus track on her debut album "Shut Up".
During the autumn of 1985, Madonna started writing and recording songs for her third studio album, "True Blue".
She brought back Steve Bray and hired a new producer, Patrick Leonard, to help her on the album.
The album's first track "Papa Don't Preach", was written by Brian Elliot, who described it as "a love song, maybe framed a little bit differently".
The song is based on teen gossip he heard outside his recording studio, which has a large front window that doubles as a mirror where schoolgirls from the North Hollywood High School in Los Angeles regularly stopped to fix their hair and chat.
The song was sent to Madonna by Michael Ostin, the same Warner Bros. executive who discovered "Like a Virgin".
Madonna only contributed with some additional lyrics, making "Papa Don't Preach" the only song on the album that she did not have a strong hand in writing.
In 2009, during an interview with "Rolling Stone" Madonna was asked by the interviewer Austin Scaggs as to why the theme of the song was meaningful to her.
She replied saying,
[The song] just fit right in with my own personal zeitgeist of standing up to male authorities, whether it's the pope, or the Catholic Church or my father and his conservative, patriarchal ways.
... For 'Papa Don't Preach' there were so many opinions – that's why I thought it was so great.
Is she for 'schma-smortion', as they say in "Knocked Up"?
Is she against abortion?
"Papa Don't Preach" is a dance-pop song with instrumentation from acoustic, electric, and rhythm guitars, keyboards, and string arrangements.
It is set in common time, and moves at a moderate tempo of 116 beats per minute.
The song is written in the key of F minor.
The combination of key and tempo produces a disjuncture between pop and classical rhythms, underlined by the instrumentation during the introduction.
The song begins with a distinctly Vivaldian style, as the fast tempo and classical-style chord progression anticipates the lyrics to follow.
The opening chords and the melody emphasize the tonic of the leading notes: Fm–E–D–Cm–D–E–Fm–D–E–Fm, resembling a Baroque work.
This is followed by the sound of dance music, produced by a powerful beat from the instruments.
Madonna's vocal range spans from F to C, and has a different sound from her previous work, more mature, centered, and with a lower range.
The lyrics show Madonna's interest in her Roman Catholic upbringing, as the song theme is about a girl who tells her father that she is pregnant and refuses to have an abortion or give up the baby for adoption despite what her friends are telling her to do.
It is constructed in a verse-chorus form, with a bridge before the third and final chorus.
At the beginning, she addresses her father directly, asking him to talk to her as an adult, "You should know by now that I'm not a baby".
The transition to the chorus employs a more dramatic voice with a higher range, ending nearly in cries as she sings the word "Please".
Leading to the chorus, Madonna switches to a pleading voice, singing the song's main hook in a high tone.
During the bridge, the song features a Spanish-inspired rhythm, one of the earliest examples of the influence that Hispanic music had on Madonna's musical style.
"Papa Don't Preach" was met with acclaim from music critics.
Davitt Sigerson from "Rolling Stone" magazine in a review of the album "True Blue" said that if there is a problem with the album "it's the lack of outstanding songs", adding that "only the magnificent 'Papa Don't Preach' has the high-profile hook to match 'Like a Virgin', 'Dress You Up' and 'Material Girl'."
In its review of "True Blue", Allmusic's Stephen Thomas Erlewine said that "she is using the music to hook in critics just as she's baiting a mass audience with such masterstrokes as 'Papa Don't Preach'."
Robert Christgau in a review for "The Village Voice" felt that "she [Madonna] doesn't speak for the ordinary teenaged stiff any more than Reagan speaks for the union members", adding that "while the antiabortion content of 'Papa Don't Preach' isn't unequivocal, and wouldn't make the song bad by definition if it were, the ambiguity is a cop-out rather than an open door, which is bad."
Sal Cinquemani from "Slant Magazine" said that "with songs like 'Papa Don't Preach', Madonna made the transition from pop tart to consummate artist, joining the ranks of 80s icons like Michael Jackson and Prince."
David Browne from "Entertainment Weekly" in a review of her first compilation album "The Immaculate Collection", commented that "In theory, a 30-ish urban sophisticate singing in the voice of a pregnant teen [...] ought to sound ridiculous", but added that "With the help of collaborators like Stephen Bray and Patrick Leonard, though, [the song] turns into a perfectly conceived pop record."
In 2005, the same magazine placed the song at number 486 on its list of "The 500 Greatest Songs Since You Were Born".
In 1987, the song was nominated for Best Female Pop Vocal Performance at the 29th Grammy Awards, but lost to Barbra Streisand's "The Broadway Album".
"Papa Don't Preach" was released in the United States in June 1986.
It debuted on the "Billboard" Hot 100 at number 42 and, within eight weeks of release, reached the top of the chart, making it Madonna's fourth number-one single in the US.
It maintained the top position for two weeks and spent 18 weeks on the chart.
It also reached a peak of four on the Hot Dance Club Songs chart and a peak of number 16 on the Adult Contemporary chart.
In October 1998, the single was certified gold by the Recording Industry Association of America (RIAA) for shipment of a million copies of the single.
It placed at position 29 for the "Billboard" Year-End chart for 1986.
In Canada the song debuted at number 53 of the "RPM" singles chart on July 5, 1986, reached the top for two weeks in August 1986, and stayed on the chart for 20 weeks.
It placed at position 13 on the "RPM" Year-End chart for 1986.
In the United Kingdom, "Papa Don't Preach" was released on June 16, 1986.
The song debuted at number 13 on the UK Singles Chart before climbing to number one two weeks later.
It then spent three consecutive weeks at the top, stayed 15 weeks on the chart, and was certified gold by the British Phonographic Industry (BPI) in August 1986 for shipment of 500,000 copies of the single.
According to the Official Charts Company, the song has sold 650,700 copies in the UK by August 2016.
Across Europe, "Papa Don't Preach" was successful, topping the Eurochart Hot 100 for 11 weeks.
It reached the top position of the singles charts in Belgium, Ireland, and Norway, and peaked inside the top five in Austria, France, Germany, the Netherlands, Spain and Switzerland.
The song also reached the top of the charts in Australia, and inside the Top 5 in South Africa and New Zealand.
For the music video, Madonna sported a complete image makeover.
She changed the heavy jewelry and make-up, and adopted the gamine look, which is notably applied to describe the style and appearance that Shirley MacLaine and Audrey Hepburn used during the 1950s.
In the video Madonna played a tomboy, dressed in jeans, a black leather jacket, and a slogan T-shirt with the caption "Italians do it better".
The video alternated between tomboy shots and those of a more glamorous Madonna with a more toned and muscular body, cropped platinum blonde hair, and figure-revealing clothing, consisting of a 1960s-style black bustier top and capri pants.
The video was directed by James Foley, who worked with Madonna in her music video for "Live to Tell", produced by David Naylor and Sharon Oreck, and Michael Ballhaus was in charge of the photography.
The video was shot on location over three days in Staten Island, New York and Manhattan.
Staten Island was chosen on Foley's suggestion as it was where he grew up: "We talked about wanting to tap into a working-class environment, because by that time she had done 'Material Girl' and 'Like a Virgin' and other stuff that was very glamorous and stylized.
She wanted to do something a bit more grounded and 'drama'."
Actor Alex McArthur was signed to play Madonna's boyfriend and the father of her child in the video.
Madonna had spotted McArthur in a small role as a naive youth in the 1985 film "Desert Hearts", and she thought he was a natural to play her mechanic boyfriend.
"I was out in the garage working on my Harley," said McArthur, "I answered the phone and a voice said, 'Hi, this is Madonna.
I would like you to be in my next video.'"
The music video starts with shots of the New York skyline, the Staten Island Ferry, and character close-ups.
Madonna is seen walking along a lane.
Then it shows her thinking about her father, played by actor Danny Aiello, and how much he loves her.
She then sees her boyfriend, played by actor Alex McArthur, coming along.