Erich Hoepner

Erich Kurt Richard Hoepner (14 September 1886 – 8 August 1944) was a German general during World War II. An early proponent of mechanisation and armoured warfare, he was a Wehrmacht army corps commander at the beginning of the war, leading his troops during the invasion of Poland and the Battle of France.

Hoepner commanded the 4th Panzer Group on the Eastern Front during Operation Barbarossa, the invasion of the Soviet Union in 1941. During the invasion of Poland, he resisted mistreatment and murder of prisoners of war, but in Russia, units under his authority closely cooperated with the Einsatzgruppen and he implemented the Commissar Order that directed Wehrmacht troops to summarily execute Red Army political commissars immediately upon capture. Hoepner's Panzer group, along with the 3rd Panzer Group, spearheaded the advance on Moscow in Operation Typhoon, the failed attempt to seize the Soviet capital.

Dismissed from the Wehrmacht after the failure of the 1941 campaign, Hoepner restored his pension rights through a lawsuit. He was implicated in the failed 20 July plot against Adolf Hitler and executed in 1944.

## Early years and World War I

Hoepner was born in Frankfurt (Oder), the son of Prussian medical officer Kurt Hoepner. He was commissioned into the Prussian Army as a cavalry lieutenant in 1906, joining the Schleswig-Holstein Dragoons Regiment No. 13 (de). In 1911 he attended the Prussian Staff College and was assigned to the General Staff of the XVI Corps. When the First World War began he was assigned to the Western Front, serving as a company commander and staff officer for several corps and armies. He fought with the 105th Infantry Division in the German spring offensive of 1918, ending the war in the cavalry.

## Interwar period

Hoepner remained in the Reichswehr during the Weimar Republic period. He was promoted to the rank of Generalmajor in 1936 and in 1938 was given command of the 1st Light Division (later 6th Panzer Division), an early armoured unit that was part of the nucleus of the expanding German Panzerwaffe. Claus von Stauffenberg served on Hoepner's divisional staff. After the Blomberg–Fritsch affair in early 1938, the result of which was the subjugation of the Wehrmacht to dictator Adolf Hitler, and as the Sudetenland Crisis unfolded, Hoepner joined the Oster conspiracy. The group planned to kill Hitler and overthrow the Nazi SS, should Hitler move to invade Czechoslovakia. Hoepner's role in the plan was to lead the 1st Light Division toward Berlin and seize key objectives against the SS forces in the city. The conspiracy collapsed with the appeasement by Neville Chamberlain and Édouard Daladier and the signing of the Munich Agreement. Upon his rival Heinz Guderian's assumption of command of the XIX Army Corps, Hoepner replaced him as the commander of the XVI Army Corps. He led the corps in the occupation of Czechoslovakia in March 1939 and was promoted the next month to General of the Cavalry.

## World War II

### Invasion of Poland and Battle of France

Hoepner commanded the XVI Army Corps in the Invasion of Poland where he covered the 230 km (140 mi) to Warsaw in only a week as part of the 10th Army. Hoepner and his corps were transferred to the 6th Army for the Battle of France, where he spearheaded attacks on Liège and then Dunkirk and Dijon. On 22 May, the SS Division Totenkopf was assigned to XVI Corps, starting what was to be a long period of friction and mutual dislike between Hoepner and the SS. During the Battle of Dunkirk, rumours began to spread of SS troops mistreating prisoners and on 24 May Hoepner issued a special order to his units that any soldiers caught mistreating prisoners would face immediate court-martial.

Three days later troops from the SS Division Totenkopf killed almost a hundred British prisoners in the Le Paradis massacre. When word of the massacre reached Hoepner he ordered an investigation into the allegations, demanding that the SS division commander, Theodor Eicke be dismissed if evidence could be found that British prisoners had been mistreated or killed by SS forces. Eicke made an excuse to Himmler that the British had used dum-dum bullets against his forces. He and the Totenkopf unit suffered no consequences and the matter was officially forgotten. However, Hoepner continued to hold a personal and professional dislike of Eicke, calling him a "butcher" for his disregard of casualties. He also maintained his existing low opinion of the Waffen-SS.

### War against the Soviet Union

After the conclusion of the fighting in France, Hoepner was promoted to the rank of Generaloberst in July 1940. The German High Command had commenced planning for Operation Barbarossa, and Hoepner was appointed to command the 4th Panzer Group that was to drive toward Leningrad as part of Army Group North under Wilhelm von Leeb. On 30 March 1941, Hitler delivered a speech to about two hundred senior Wehrmacht officers where he laid out his plans for an ideological war of annihilation ('') against the Soviet Union. He stated that "wanted to see the impending war against the Soviet Union conducted not according to the military principles, but as a war of extermination" against an ideological enemy, whether military or civilian. Many Wehrmacht leaders, including Hoepner, echoed the sentiment. As a commander of the 4th Panzer Group, he issued a directive to his troops:

> The war against Russia is an important chapter in the struggle for existence of the German nation. It is the old battle of Germanic against Slav peoples, of the defence of European culture against Muscovite-Asiatic inundation, and the repulse of Jewish-Bolshevism. The objective of this battle must be the destruction of present-day Russia and it must therefore be conducted with unprecedented severity. Every military action must be guided in planning and execution by an iron will to exterminate the enemy mercilessly and totally. In particular, no adherents of the present Russian-Bolshevik system are to be spared.

The order was transmitted to the troops on Hoepner's initiative, ahead of the official OKW (Wehrmacht High Command) directives that laid the groundwork for the war of extermination, such as the Barbarossa Decree of 13 May 1941 and other orders. Hoepner's directive predates the first OKH (Army High Command) draft of the Commissar Order. Jürgen Förster wrote that Hoepner's directive represented an "independent transformation of Hitler's ideological intentions into an order" and illustrated a "degree of conformity or affinity" between Hitler and military leadership, which provided a sufficient basis for collaboration in the aims of conquest and annihilation against a perceived threat from the Soviet Union.

#### Advance on Leningrad

The 4th Panzer Group consisted of the LVI Panzer Corps (Erich von Manstein) and the XLI Panzer Corps (Georg-Hans Reinhardt). The Army Group was to advance through the Baltic States to Leningrad. Barbarossa commenced on 22 June 1941 with a massive German attack along the whole front line. The 4th Panzer Group headed for the Dvina River to secure the bridges near the town of Daugavpils. The Red Army mounted a number of counterattacks against the XLI Panzer Corps, leading to the Battle of Raseiniai.

After Reinhardt's corps closed in, the two corps were ordered to encircle the Soviet formations around Luga. Again having penetrated deep into the Soviet lines with unprotected flanks, Manstein's corps was the target of a Soviet counteroffensive from 15 July at Soltsy by the Soviet 11th Army. Manstein's forces were badly mauled and the Red Army halted the German advance at Luga. Ultimately, the army group defeated the defending Soviet Northwestern Front, inflicting over 90,000 casualties and destroying more than 1,000 tanks and 1,000 aircraft, then advanced northeast of the Stalin line.

During his command on the Eastern Front, Hoepner demanded "ruthless and complete destruction of the enemy." On 6 July 1941, Hoepner issued an order to his troops instructing them to treat the "loyal population" fairly, adding that "individual acts of sabotage should simply be charged to communists and Jews". As with all German armies on the Eastern Front, Hoepner's Panzer Group implemented the Commissar Order that directed Wehrmacht troops to execute Red Army political officers immediately upon capture, contravening the accepted laws of war. Between 2 July and 8 July, the 4th Panzer Group shot 101 Red Army political commissars, with the bulk of the executions coming from the XLI Panzer Corps. By 19 July, 172 executions of commissars had been reported.

By mid-July, the 4th Panzer Group seized the Luga bridgehead and had plans to advance on Leningrad. The staff and detachments 2 and 3 of Einsatzgruppe A, one of the mobile killing squads following the Wehrmacht into the occupied Soviet Union, were brought up to the Luga district with assistance from the army. "The movement of Einsatzgruppe A—which the army intended to use in Leningrad—was effected in agreement with Panzer Group 4 and at their express wish", noted Franz Walter Stahlecker, the commander of Einsatzgruppe A. Stahlecker described army co-operation as "generally very good" and "in certain cases, as for example, with Panzer Group 4 under the command of General Hoepner, extremely close, one might say even warm."

By late July, Army Group North positioned 4th Panzer Group's units south and east of Narva, Estonia, where they could begin an advance on Leningrad in terrain conditions relatively suitable for armoured warfare. By that time, however, the army group lacked the strength to take Leningrad, which continued to be a high priority for the German high command. A compromise solution was worked out whereas the infantry would attack north from both sides of Lake Ilmen, while the Panzer Group would advance from its current position. Hoepner's forces began their advance on August 8, but the attack ran into determined Soviet defences. Elsewhere, Soviet counter-attacks threatened Leeb's southern flank. By mid to late August, the German forces were making gains again, with the 4th Panzer Group taking Narva on 17 August.

On 29 August, Leeb issued orders for the blockade of Leningrad in anticipation that the city would soon be abandoned by the Soviets. On September 5, Hitler ordered Hoepner's 4th Panzer Group and an air corps transferred to Army Group Centre effective 15 September, in preparation for Operation Typhoon, the German assault on Moscow. Leeb objected and was given a reprieve in the transfer of his mobile forces, with the view of making one last push towards Leningrad. The 4th Panzer Group was to be the main attacking force, which reached south of the Neva River, where it was faced with strong Soviet counter-attacks. By 24 September, Army Group North halted its advance and transferred the 4th Panzer Group to Army Group Centre.

#### Battle of Moscow

As part of Operation Typhoon, the 4th Panzer Group was subordinated to the 4th Army under the command of Günther von Kluge. In early October, the 4th Panzer Group completed the encirclement at Vyazma. Kluge instructed Hoepner to pause the advance, much to the latter's displeasure, as his units were needed to prevent break-outs of Soviet forces. Hoepner was confident that the clearing of the pocket and the advance on Moscow could be undertaken at the same time and viewed Kluge's actions as interference, leading to friction and "clashes" with his superior, as he wrote in a letter home on 6 October. Hoepner did not seem to appreciate that his units were very short on fuel; the 11th Panzer Division, reported having no fuel at all. Only the 20th Panzer Division was advancing towards Moscow amid deteriorating road conditions.

Once the Vyazma pocket was eliminated, other units were able to advance on 14 October. Heavy rains and onset of the rasputitsa (roadlessness) caused frequent damage to tracked vehicles and motor transport further hampering the advance. By early November, Hoepner's forces were depleted from earlier fighting and the weather but he, along with other Panzer Group commanders and Fedor von Bock, commander of Army Group Center, was impatient to resume the offensive. In a letter home, Hoepner stated that just two weeks of the frozen ground would allow his troops to surround Moscow, not taking into account the stiffening Soviet resistance and the condition of his units. David Stahel wrote that Hoepner displayed "steadfast determination, and often excessive confidence" during that period.

On 17 November the 4th Panzer Group attacked again towards Moscow alongside the V Army Corps of the 4th Army, as part of the continuation of Operation Typhoon by Army Group Centre. The Panzer Group and the army corps represented Kluge's best forces, most ready for a continued offensive. In two weeks' fighting, Hoepner's forces advanced 60 km (37 mi) (4 km (2.5 mi) per day). Lacking strength and mobility to conduct battles of encirclement, the Group undertook frontal assaults which proved increasingly costly. A lack of tanks, insufficient motor transport and a precarious supply situation, along with tenacious Red Army resistance and the air superiority achieved by Soviet fighters hampered the attack.

The 3rd Panzer Group further north saw slightly better progress, averaging 6 km (3.7 mi) a day. The attack by the 2nd Panzer Group on Tula and Kashira, 125 km (78 mi) south of Moscow, achieved only fleeting and precarious success, while Guderian vacillated between despair and optimism, depending on the situation at the front. Facing pressure from the German High Command, Kluge finally committed his weaker south flank to the attack on 1 December. In the aftermath of the battle, Hoepner and Guderian blamed slow commitment of the south flank of the 4th Army to the attack for the German failure to reach Moscow. Stahel wrote that this assessment grossly overestimated the capabilities of Kluge's remaining forces. It also failed to appreciate the reality that Moscow was a metropolis that German forces lacked the numbers to encircle. With the outer defensive belt completed by 25 November, Moscow was a fortified position which the Wehrmacht lacked the strength to take in a frontal assault.

As late as 2 December, Hoepner urged his troops forward stating that "the goal [the encirclement of Moscow] can still be achieved". The next day, he warned Kluge that failure to break off the attack would "bleed white" his formations and make them incapable of defence. Kluge was sympathetic since the south flank of the 4th Army had already had to retreat under Red Army pressure and was on the defensive. Hoepner was ordered to pause his attack, with the goal of resuming it on 6 December. In a letter home, Hoepner blamed Kluge for the inability to seize Moscow, "I alone came to within thirty kilometres to Moscow ... It's very bitter ... in the deciding moment to be left in the lurch and forced to resignation". Such "blinkered thinking" on Hoepner's part was common among the German commanders in charge of the operation, which in Stahel's opinion "even before it began, made little practical sense". On 5 December 1941, with orders to attack the next day, Hoepner called a conference of chiefs-of-staff of his five corps. The reports were grim: only four divisions were deemed capable of attack, three of these with limited objectives. The attack was called off; the Red Army launched its winter counter-offensive on the same day.

### Dismissal and 20 July plot

In January 1942, Hoepner requested permission from Kluge, the new commander of Army Group Centre, to withdraw his over-extended forces. Kluge advised him that he would discuss the matter with Hitler and ordered Hoepner to get ready. Assuming that Hitler's permission was on the way and not wanting to risk the matter any longer, Hoepner ordered his troops to withdraw on 8 January 1942. Afraid of what Hitler might think, Kluge immediately reported Hoepner, causing Hitler's fury. Hoepner was dismissed from the Wehrmacht on the same day. Hitler directed that Hoepner be deprived of his pension and denied the right to wear his uniform and medals, contravening the law and Wehrmacht regulations. Hoepner filed a lawsuit against the Reich to reclaim his pension. Judges at the time could not be dismissed, even by Hitler, and Hoepner won his case.

Hoepner was a participant in the 20 July plot against Hitler in 1944 and after the coup failed he was arrested and tortured by the Gestapo. He refused an opportunity to commit suicide and demanded a trial. A summary trial was conducted by the Volksgerichtshof and Hoepner was verbally attacked and sentenced to death. Like other defendants, including Erwin von Witzleben, Hoepner was humiliated during the trial by being made to wear ill-fitting clothes, and not being allowed to have his false teeth. Judge Roland Freisler berated Hoepner, but, in an extremely unusual move given his very aggressive personality, he objected to him being made to dress in such a way. Hoepner was hanged by wire mounted from meat hooks on 8 August, at Plötzensee Prison in Berlin.

Under the Nazi practice of Sippenhaft (collective punishment) Hoepner's wife, daughter, son (a major in the army), brother and sister were arrested. The women were sent to Ravensbrück concentration camp. His sister was soon released but Frau Hoepner and her daughter were placed in the notorious Strafblock'' for four weeks' additional punishment. Hoepner's son was first held at a specially created camp at Küstrin (now Kostrzyn nad Odrą) and then sent to Buchenwald concentration camp.

## Commemoration

In 1956, a school in Berlin was named after Hoepner because he had joined the 20 July plot and was executed by the Nazi regime. The school voted to drop the name in 2008. In 2009, the school director attested to the fact that "the name had been controversial from the start and was repeatedly debated".

## Awards

- Knight's Cross of the Iron Cross on 27 October 1939 as General of the Cavalry and commander of XVI. Armee-Korps

German general

Colonel generals of the German Army (Wehrmacht)

People executed by hanging at Plötzensee Prison

Recipients of the Knight's Cross of the Iron Cross


Mat Latos

Mathew Adam Latos (/ˈleɪtoʊs/ LAY-tohs; born December 9, 1987) is an American former professional baseball pitcher. He played in Major League Baseball (MLB) for the San Diego Padres from 2009 through 2011, the Cincinnati Reds from 2012 through 2014, and the Miami Marlins, Los Angeles Dodgers and Los Angeles Angels of Anaheim in 2015, the Chicago White Sox and Washington Nationals in 2016, and the Toronto Blue Jays in 2017.

Born in Alexandria, Virginia, Latos' family moved to Florida when he was young. He played baseball at Coconut Creek High School, where he became one of the best high school players in the state. Highly regarded for his talent before the 2006 MLB draft, he fell to the 11th round due to questions about his maturity. After pitching at Broward College for a season, he was signed by the San Diego Padres for a \$1.25 million bonus. He debuted for the Padres in 2009, and established himself in their starting rotation. The Reds traded four players, including three prospects, to acquire Latos before the 2012 season.

Latos suffered a knee injury in 2014, which reduced his effectiveness. The Marlins traded for Latos before the 2015 season and then traded him to the Dodgers in July 2015. He signed with the White Sox for 2016, but was released during the season, and finished the year with the Nationals. He briefly appeared with the Blue Jays in 2017.

## Early life

Latos is the only child born to Lisa and Rich Latos. He is originally from Alexandria, Virginia. When Latos was 12 years old, his grandfather insisted that he play in a baseball tournament rather than stay at his bedside the day he died.

## High school career

Latos attended Coconut Creek High School in Coconut Creek, Florida, despite being recruited to attend high schools with more prestigious baseball programs. He was named the ace starting pitcher of the Coconut Creek baseball team's as a freshman. That year, he pitched to a 3–4 win–loss record and a 3.68 earned run average (ERA), with 41 strikeouts and 26 walks in 39+2⁄3 innings pitched. His fastball reached 88–89 miles per hour (142–143 km/h). He improved his fastball command and velocity as a sophomore, reaching 93 miles per hour (150 km/h) and his statistics improved to a 5–2 record, a 1.23 ERA, 89 strikeouts, and 21 walks in 68 innings.

Heading into his junior year, Latos improved his training regimen and diet. He pitched to a 7–4 record with a 0.76 ERA as a junior with 128 strikeouts and 17 walks in 83 innings. Eleven of his thirteen starts were complete games. Coconut Creek reached the regional quarterfinals, and Latos was named an Aflac All-American and All-Broward County by the South Florida Sun-Sentinel and Miami Herald. By his senior year, Latos could throw his fastball as high as 98 miles per hour (158 km/h). He was an honorable mention by the Florida Sports Writers Association for the All-State team. As a senior, Latos had a 7–3 record with 110 strikeouts and a 0.64 ERA in 69+2⁄3 innings pitched. He appeared in the Broward County Athletics Association All-Star Game, and was named South Florida Sun-Sentinel's player of the year.

## College career

Latos committed to attend the University of Oklahoma to play college baseball for the Oklahoma Sooners baseball team. However, many scouts expected Latos to be a first-round pick in the 2006 Major League Baseball (MLB) Draft. SchoolSports.com ranked Latos the fifth-best high school pitcher available in the 2006 Major League Baseball draft. The San Diego Padres selected Latos in the 11th round (333rd overall). He fell in the draft since his personality made him difficult to handle in high school, as he was considered immature, often yelled at teammates who made errors and reacted poorly when the umpire made a call with which he disagreed.

After the draft, Latos demanded a \$3 million signing bonus from the Padres. When the Padres did not meet his demands, Latos enrolled at Broward College, a junior college, to pitch for their baseball team. As the Padres retained the right to sign Latos until the start of the 2007 MLB draft, they sent scout Joe Bochy to observe every start Latos made. Latos had a 10–3 win–loss record and a 2.03 ERA. Feeling that Latos was worth the gamble, the Padres paid Latos \$1.25 million a few days before he would have re-entered the draft in 2007.

## Professional career

### Minor leagues

Latos started his professional career in 2007, minor league baseball with the Eugene Emeralds, the Padres' Class A-Short Season affiliate in the Northwest League. Pitching in 16 games for Eugene, Latos had a 1–4 record and a 3.83 ERA. In 2008, Latos started the season with the Fort Wayne Wizards of the Class A Midwest League, but missed playing time during the season due to abdominal and shoulder injuries.

The Padres invited Latos to spring training in 2009, but he suffered a minor ankle sprain that limited his appearances. Latos started the 2009 season in Fort Wayne and allowed only one run in four starts. He was then promoted to the San Antonio Missions of the Class AA Texas League. At San Antonio, Latos had a 5–1 win–loss record and threw five perfect innings in his last start for San Antonio on July 9. Between Fort Wayne and San Antonio, Latos had an 8–1 record, a 1.38 ERA, 73 strikeouts, and a .168 batting average against (BAA). The Padres named Latos their Padres Minor League Pitcher of the Month for May. Latos was selected to play in the 2009 All-Star Futures Game, and threw one scoreless inning.

### San Diego Padres

The Padres promoted Latos to make his major league debut on July 19, 2009, against the Colorado Rockies. In his major league debut, Latos pitched four innings, allowing three hits and two runs while striking out four, while throwing 75 pitches. He recorded his first major league win on July 24. Latos became the first pitcher in Padres history to win four of his first five career starts. Latos made ten starts for the Padres in 2009, pitching to a 4–5 record and a 4.68 ERA.

On May 13, 2010, Latos threw a complete game shutout against the division foe San Francisco Giants. The only hit he allowed was an infield single. The Padres won the game 1–0. After posting a 5.47 ERA through May 1, Latos lowered his ERA down to 2.45 right before the All Star Break, also leading the league in BAA and WHIP (.193 and 0.97 respectively). On September 7, 2010, Latos set a major league record with a seven–inning, 10–strikeout performance in a win against the Dodgers. The victory was Latos' 15th consecutive start logging at least five innings and allowing two or fewer earned runs, which was at the time the longest streak in modern baseball history (since 1900) according to the Elias Sports Bureau. The record would be broken by Félix Hernández, who recorded 17 such straight outings during the 2014 season. Previously the mark had been set by Greg Maddux (1993–94) and Mike Scott (1986), who had such streaks lasting 14 starts. On the season, Latos pitched to a 14–10 win–loss record in 31 games started, with a 2.92 (ERA), 1.08 walks plus hits per inning pitched (WHIP), and 189 strikeouts in 184+2⁄3 innings pitched. He placed eighth in voting for the National League Cy Young Award.

However, Latos lost his last five starts of the 2010 season, culminating with a 3–0 loss to the San Francisco Giants on October 3 that, combined with an Atlanta Braves win, eliminated the Padres from playoff contention. The San Diego Union-Tribune attributed his struggles at the end of the year to fatigue, as his 189+2⁄3 innings for the season were 66+2⁄3 more than he pitched in 2009.

Latos started 2011 on the disabled list due to a spring training shoulder injury. He lost his first four starts of the season, extending his losing streak to nine consecutive starts dating back to 2010. The streak tied the longest streak in Padres history, held by Andy Benes and Dennis Rasmussen. Latos had a no-decision in his next start after the bullpen blew a save opportunity, preventing him from earning a win. He lost another decision for a 10-game losing streak that was one less than the club record held by Gary Ross. Latos won on May 15 against the Colorado Rockies to end his losing streak. He ended the 2011 season with a 9–14 record and a 3.47 ERA.

### Cincinnati Reds

After the 2011 season, the Cincinnati Reds were looking for another frontline starter to pair with Johnny Cueto in their starting rotation. On December 17, 2011, the Padres traded Latos to the Reds in exchange for prospects Yonder Alonso, Yasmani Grandal, and Brad Boxberger, along with veteran starting pitcher Edinson Vólquez.

In the last week of June 2012, Latos pitched two complete games. He was named the National League Player of the Week for the week ending July 1. Latos finished the 2012 season with a 14–4 win–loss record a 3.48 ERA. The Reds reached the playoffs, and faced the San Francisco Giants in the 2012 National League Division Series (NLDS). On October 11, 2012, Latos gave up a grand slam to Buster Posey in a 6-run top of the fifth inning in the elimination game of the NLDS. Latos took the loss in this game, as the Reds were eliminated.

The Reds signed Latos to a two-year contract worth \$11.5 million for the 2013 and 2014 seasons. Latos had a 21-game streak without a loss, extending from August 2012 to June 2013. He finished the 2013 season with a 14–7 win–loss record and a 3.16 ERA in 210+2⁄3 innings pitched. Though he suffered an abdominal strain on June 30, he continued to pitch without missing any starts. He revealed the injury after a poor outing against the Pittsburgh Pirates in September. The Reds reached the 2013 National League Wild Card Game, opposing Pittsburgh. Reds' manager Dusty Baker wanted to start Latos for that game, but a bone spur in his elbow prevented him from being available. Baker chose Cueto as his starter. The Reds lost the game, ending their season.

Latos had surgery to remove bone chips from his elbow during the offseason. During spring training in 2014, Latos tore cartilage in his left knee, which was repaired with surgery. His knee had not fully recovered in time for Opening Day of the 2014 season, which he started on the disabled list. He began a rehabilitation assignment with the Louisville Bats of the Class AAA International League on May 26, and made his 2014 season debut with the Reds on June 14. Latos said that he came back at "80–90 percent" effectiveness due to his desire to help his team, but experienced setbacks with his knee during the season. He averaged 90.7 miles per hour (146.0 km/h) on his fastball, down from 92.5 miles per hour (148.9 km/h) during the 2013 season. His last start came on September 7, as he suffered a bone bruise on the elbow of his pitching arm. His 2014 season ended with a 5–5 record and a 3.25 ERA in 16 starts.

### Miami Marlins

With the goal of reducing their payroll, and with Latos eligible for free agency after the 2015 season, the Reds traded Latos to the Miami Marlins in exchange for Anthony DeSclafani and Chad Wallach during the 2014 Winter Meetings. Latos sought a \$10.4 million salary for the 2015 season in salary arbitration, but the arbiters sided with the Marlins, who proposed a salary of \$9.4 million.

Latos had 90 cubic centimetres (5.5 cu in) of fluid drained from his left knee during spring training. He allowed seven runs in 2⁄3 of an inning in his first start for Miami, and struggled through knee pain through May. He went on the disabled list after his May 21 start to rest his knee, and returned in mid-June. Latos missed a start in July after a foul ball struck him in his foot while he was sitting in the dugout.

### Los Angeles Dodgers and Angels

On July 30, 2015, in a three-team trade, the Los Angeles Dodgers acquired Latos, Michael Morse, Bronson Arroyo, Alex Wood, Jim Johnson, Luis Avilán, and José Peraza, while the Marlins acquired minor league pitchers Victor Araujo, Jake Brigham, and Kevin Guzman, while the Atlanta Braves received Héctor Olivera, Paco Rodriguez, minor league pitcher Zachary Bird, and a competitive balance draft pick for the 2016 MLB draft. He pitched to a 6.66 ERA in 24+1⁄3 innings. He lost his starting job due to his poor performance and was designated for assignment on September 17. The Dodgers released Latos on September 25.

On September 28, 2015, Latos signed a contract with the Los Angeles Angels of Anaheim that would allow him to pitch the last week of the season for them. Latos was not eligible to pitch for the Angels in the postseason. He made his first appearance for the Angels as a relief pitcher on September 29. Latos had a 4.91 ERA in 3+2⁄3 innings pitched for the Angels.

### Chicago White Sox

Latos signed a one-year contract worth \$3 million with the Chicago White Sox prior to the 2016 season. Latos pitched to a 0.74 ERA in his first four starts for the White Sox, but then struggled, allowing 29 earned runs in his next 36 innings pitched (7.25 ERA) after April 30. After acquiring James Shields, the White Sox designated Latos for assignment on June 9.

### Washington Nationals

Latos signed a minor league contract with the Washington Nationals on June 29. After making three appearances for the Gulf Coast Nationals of the Rookie-level Gulf Coast League, the Nationals assigned Latos to the Syracuse Chiefs of the International League. He made his Nationals debut on September 4, 2016, against the Mets. He pitched 9+2⁄3 innings for the Nationals, recording a 6.52 ERA.

### Toronto Blue Jays

On February 16, 2017, Latos signed a minor league contract with the Toronto Blue Jays. After not winning a spot on the Blue Jays' roster in spring training, Latos accepted an assignment to the Buffalo Bisons of the International League. He made two starts for the Bisons, pitching to a 1.00 ERA in nine innings, and the Blue Jays promoted Latos to the major leagues on April 21 after injuries to the team's starting rotation. Latos started three games for the Blue Jays, pitching to a 6.60 ERA and 1.80 WHIP. The Blue Jays designated Latos for assignment on May 5, and outrighted him back to Buffalo on May 8. He was released by the team on May 30.

### New Jersey Jackals

On April 10, 2018, Latos signed with the New Jersey Jackals of the independent Can-Am League. During a game on June 9, Latos threw at a batter after another player collided with his catcher. The batter charged the mound, and a brawl ensued, leading to Latos's ejection.

Latos finished the 2018 season with a record of 5-4 and ERA of 3.18 in 29 games pitched (10 games started), accumulating 4 saves. In 76+1⁄3 innings pitched, Latos allowed only 66 hits, 31 walks, and struck out 87.

On September 3, Latos was the starting first baseman in the Jackals 6-5 win over the Québec Capitales, his first professional game at any position other than pitcher. Latos went 3-for-4 at the plate with two doubles and a run scored. On defense, Latos had eight putouts and was part of a 4-6-3 double play.

Following the conclusion of the season, Latos was released by the Jackals on October 3, 2018.

### Southern Maryland Blue Crabs

On March 28, 2019, Latos signed with the Southern Maryland Blue Crabs of the Atlantic League of Professional Baseball. He became a free agent following the season.

### New Jersey Jackals (second stint)

On January 29, 2020, Latos signed with the New Jersey Jackals of the Frontier League. On December 14, 2020, Latos had his contract exercised for the 2021 season.

### Southern Maryland Blue Crabs (second stint)

On March 26, 2021, Latos was traded to the Southern Maryland Blue Crabs of the Atlantic League of Professional Baseball in exchange for a player to be named later. He became a free agent following the season. On March 8, 2022, Latos re-signed with the Blue Crabs for the 2022 season. He became a free agent following the season.

## Pitching style

Latos throws five pitches. He throws a four-seam fastball (91–96 miles per hour (146–154 km/h)), a two-seam fastball (90–94 miles per hour (145–151 km/h)), a slider (84–87 miles per hour (135–140 km/h)), a curveball (78–82 miles per hour (126–132 km/h)), and a changeup (82–85 miles per hour (132–137 km/h)). He mostly relies on his four-seamer and slider against right-handed hitters while adding considerable variety against lefties. The 42% whiff rate on his slider is one of the best among major league starters.

Latos is 6 feet 6 inches (1.98 m) tall and uses an over-the-top delivery. Latos has one of the highest delivery points in baseball. Latos has compiled good strikeout totals in his career as a starter, finishing in the NL's top 10 in strikeouts per 9 innings pitched rate twice.

## Personal life

Mat was married in 2010 and divorced in 2017. As a result of the marriage, Mat Latos is father to a son that was born in August 2014.

On September 29, 2018, Latos received a restraining order that required him to stay at least 500 feet away from his ex-girlfriend at all times. The restraining order was sought on the claims of physical and emotional abuse, as well as alleged threats.

Latos honors his grandfather by writing his initials on the pitching mound and with a tattoo of his grandfather's initials. He enjoys drawing, especially airbrushing, and stated a desire to work on tattoos. Latos has many tattoos, and was described by Tim Sullivan of the San Diego Union-Tribune as "the righthanded tattoo canvas."

American baseball player (born 1987)

American expatriate baseball players in Canada

Baseball players from Alexandria, Virginia


The Lord of the Rings: The Return of the King (video game)

The Lord of the Rings: The Return of the King is a 2003 hack and slash action game developed by EA Redwood Shores for the PlayStation 2 and Windows. It was ported to the GameCube and Xbox by Hypnos Entertainment, to the Game Boy Advance by Griptonite Games, to mobile by ImaginEngine, and to Mac OS X by Beenox. The game was published by Electronic Arts. It is the sequel to the 2002 game The Lord of the Rings: The Two Towers.

The game is an adaptation of Peter Jackson's 2002 film The Lord of the Rings: The Two Towers and his 2003 film The Lord of the Rings: The Return of the King, which was released shortly after the game. As it is not an adaptation of J. R. R. Tolkien's 1954 novel, The Return of the King, the third volume in Lord of the Rings, anything from the novel not specifically mentioned or depicted in the films could not be represented in the game. This is because, at the time, Vivendi Universal Games, in partnership with Tolkien Enterprises, held the rights to the video game adaptations of Tolkien's literary works, whilst Electronic Arts held the rights to the video game adaptations of the New Line Cinema films.

The game is similar to its predecessor in basic gameplay, but differs by adding multiple storylines, more playable characters and increased interaction with environments. A two-player co-op mode is also available for some missions. As with The Two Towers, The Return of the King was developed in close collaboration with the filmmakers, using many of the actual reference photos, drawings, models, props and other assets from the film. The game was met with positive critical reception for its graphics, audio, and gameplay, although its camera positioning and short length were criticized.

## Gameplay

Described by the developers as a modern version of Gauntlet, The Return of the King is a hack and slash action game played from a third-person perspective. The game is very similar to its predecessor in basic gameplay. Each character has a quick attack which does minimal damage and can be easily blocked, and a fierce attack, which does more damage, but is slower and leaves the player vulnerable to attack. Only fierce attacks can break enemy shields. Each character also has a ranged attack, a "killing move" (which can be used to instantly kill downed enemies), a parry (which can deflect enemy attacks), a knock back (which pushes nearby enemies away), a jump back (in which the player character jumps back away from the enemy), a devastating attack (a charged fierce attack) and a special ability. Playable characters in the console and PC versions are Gandalf, Aragorn, Legolas, Gimli, Frodo and Sam, with Faramir, Pippin and Merry available as unlockable characters. Playable characters in the GBA version are Legolas, Gimli, Frodo, Gandalf, and Éowyn.

Each playable character has their own set of combos and attributes. After the end of each level the player can upgrade their characters' abilities and combos using experience points. The number of points available to the player depends on the efficiency of their kills. During each level, the player will be continually graded on the skill with which they dispatch enemies; "Fair", "Good", "Excellent" and "Perfect." The more skill with which the player kills, the more experience they acquire. The player's skill is measured by an on-screen meter which increases as the player dispatches enemies. To avoid the meter dropping back down, the player must avoid being hit, and kill enemies using a variety of different methods. When a player reaches a Perfect level, all of their attacks increase in strength, and the experience from each kill is doubled. However, Perfect status only lasts for a brief period of time. A new aspect of Return of the King is that at the end of each level, rather than purchasing upgrades for the individual character, the player can also purchase "Fellowship" upgrades which apply to every playable character. However, characters will only be able to avail of a particular skill when they have reached the corresponding experience level.

A major change from The Two Towers is the interactive nature of the game environments. The player can operate machinery, for example bridges and catapults, to complete objectives, and use environmental objects as weapons, such as spears and cauldrons, to kill enemies. The levels are also twice the size of the largest level from The Two Towers and many are less linear. Unlike The Two Towers, The Return of the King features a co-op mode, allowing two players to play through the game together. The North American PlayStation 2 version also has an online multiplayer mode, with USB headset support, although this was removed from the European version of the game.

The Game Boy Advance version is played from an isometric three-quarter top-down view. A major gameplay difference in this version is the addition of "runes" which players can etch into their weapons, granting them special abilities. The game also features co-op multiplayer through the Game Boy link function, and unlockable content when connected to the GameCube version via the GameCube – Game Boy Advance link cable.

## Plot

Todd Arnold, senior producer of The Return of the King, stated that the game was not intended to re-tell the story of the film, but to allow the player to come as close as possible to experiencing the critical parts of the film for themselves. Levels were designed with this goal in mind, with just enough plot to give context to the player's actions. Liberties were thus taken with the plot, and critics noted there was little footage which could spoil the film for those who had not seen it. GameSpot's Greg Kasavin said "if you didn't know anything about the story of The Return of the King, then the story of the game may be hard to follow, though you'll still get the gist of it." However, he also advised, "in case you don't want any aspect of the movie spoiled for you, it'd be wise to hold off on playing The Return of the King until after you've seen the movie."

### Synopsis

The game begins during the Battle of the Hornburg at Helm's Deep, with the Uruk-hai having just penetrated the outer walls. With the defenders falling back to the inner court, Gandalf (voiced by Ian McKellen) appears on a hill-top flanked by thousands of Rohirrim. The player takes control of Gandalf as he enters the battle and helps defeat the Uruk-hai and orc army. After this level, the game splits into three separate mission arcs, each with its own individual set of characters. The "Path of the Wizard" follows Gandalf, the "Path of the King" follows Aragorn (Viggo Mortensen), Legolas (Orlando Bloom) and Gimli (John Rhys-Davies), and the "Path of the Hobbits" follows Frodo (Elijah Wood) and Sam (Sean Astin), although initially only Sam is playable.

The Path of the Wizard continues immediately after the events of the first level. The remains of the Uruk-hai and orc army flee into Fangorn Forest. However, within the forest, the Ents, led by Treebeard, have awoken and joined the fight against Sauron. Gandalf helps the ents as they destroy the rest of the army, and then assists them in bringing down a dam holding back the River Isen. This floods Isengard, trapping Saruman (Christopher Lee), who had joined forces with Sauron, in his tower, Orthanc. Gandalf and Pippin (Billy Boyd) then head to Minas Tirith, capital of Gondor, leaving Aragorn, Legolas, Gimli and the Rohirrim to follow them. Gandalf has gone ahead of the others because Sauron mistakenly believes that Pippin has the Ring, and Gandalf plans to use this confusion to distract Sauron as Frodo and Sam are led by Gollum (Andy Serkis) towards Mount Doom to destroy the Ring. In Minas Tirith, Gandalf helps repulse the enemies from the walls for a time, but eventually, they break through the city's defenses. Gandalf and the soldiers of Minas Tirith then retreat to a courtyard, where they must defend the fleeing civilians from the enemy. Once the people are safely inside, Gandalf can do little but await the arrival of Aragorn.

The Path of the King picks up with Aragorn, Legolas, Gimli and the Rohirrim on the way to Minas Tirith. Before arriving, however, the three companions must walk the Paths of the Dead in an effort to convince the Army of the Dead to join their cause in the War of the Ring. To do so, they must defeat the King of the Dead (Jarion Monroe) in combat. After this, the Paths of the Dead start to collapse, and they must escape before the falling rubble crushes them. With the Army of the Dead pledged to aid them, they travel to Minas Tirith and enter the Battle of the Pelennor Fields. Joining the Rohirrim and the soldiers of Minas Tirith, they face orcs, Easterlings, Haradrim and oliphaunts. They must also defend Merry (Dominic Monaghan) and Éowyn (Lorri Holt), allowing Éowyn the opportunity to defeat the Witch-king of Angmar. As it seems they are about to be overwhelmed, the Army of Dead arrive, destroying the forces of Mordor and saving Minas Tirith.

The Path of the Wizard and Path of the King share the same final level, set at the Black Gate of Mordor. In a further effort to distract Sauron from the approach of Frodo and Sam, Gandalf advises that Aragorn and the remaining army marches to the Gates of Mordor as a direct challenge to Sauron, who will send out a vast army to meet them, thus keeping his attention away from Mount Doom. Upon arriving at the Gate, the party are confronted by the Mouth of Sauron (Roger L. Jackson), who tells them that Frodo is dead. They kill him and must then face a massive army of orcs, before fighting the remaining Nazgûl. Not believing Frodo to be dead, they plan to fight as long as they can, so as to give Frodo enough time to destroy the Ring.

In The Path of the Hobbits, Frodo, Sam and Gollum must first escape from Osgiliath, fighting past orcs to get to the sewers and ensuring that Frodo is not kidnapped by the Nazgûl. However, upon escaping, Gollum decides to betray them and take the Ring back for himself. He tricks Frodo into going on without Sam, but Sam follows them into Shelob's lair. In the lair, Gollum abandons Frodo, and Sam must fight past giant spiders and orcs, eventually facing Shelob herself, who has attacked Frodo. Sam defeats Shelob, but upon reaching Frodo, he mistakenly believes him to be dead. About to go to Mount Doom on his own, he hides as a group of orcs arrive and hears them say that Frodo is alive but unconscious. They take him with them as Sam follows them to the Tower of Cirith Ungol. As Sam is about to enter the Tower, the orcs begin fighting among themselves, and Sam uses the distraction to rescue Frodo. Together, they head to Mount Doom. However, before Frodo can throw the Ring into the lava below, he is attacked by Gollum, who takes the Ring. In the final level, the player controls Frodo as he fights Gollum on the edge of the precipice. Frodo successfully defeats Gollum, knocking him into the lava and destroying the Ring forever.

## Development

Following the success of the video game tie-in of The Two Towers film, an adaptation of The Return of the King was announced on 25 April 2003. While The Two Towers was released on the three major consoles (PlayStation 2, GameCube and Xbox) and the Game Boy Advance, The Return of the King was also set for release on PC. Executive producer Neil Young revealed playable characters would include Gandalf, Aragorn, Legolas, Gimli, Frodo, Sam and two to four unlockable characters. He also stated the characters' fighting styles would be much more differentiated from one another than they had been in Two Towers, and he explained the game would offer three separate story branches rather than one, but the player would be unable to complete the game or get to the final level by playing through only one branch. Young stated "there are certain gates that prevent the player from progressing that might break the fiction, but that motivates them to essentially bring a party of characters through the game to its conclusion." The development team originally had been working on a new game engine from scratch for The Return of the King. With progress stalling about a year into development, the team turned to the engine used for EA Sports' Tiger Woods PGA Tour series, which was similarly built to craft expansive areas with large structures located throughout the world, and used it as a foundation for the engine built for The Return of the King.

EA debuted the game at the 2003 E3 event in May, announcing that compared to Two Towers, Return of the King had more playable characters, larger and less linear levels, multiple narrative paths, bigger and more intelligent bosses, interactive environments, and a co-op mode. Footage from the films and parts of Howard Shore's score would feature, and members of the film's cast would lend their voices and likenesses to the game. On 15 May, a playable demo was made available for the PS2, featuring the first Minas Tirith level along with a non-playable demo of the co-op gameplay in a customized level specifically designed for E3. EA also revealed they were working on having Gollum as a playable character, although this ultimately did not happen, except in the GBA version.

The developers called The Return of the King "bigger and better" than The Two Towers. "In The Two Towers the player would occasionally run into 10 or 15 enemies," said lead game designer Chris Tremmel, "in The Return of the King there are areas where the player faces up to 40 orcs [...] Fans familiar with The Two Towers will find that the combat experience in The Return of the King feels familiar but much deeper." Before creating levels, the developers would initially look at the script and determine what parts from the film to highlight in that particular level, and how to structure that event as a mission. They would then write in-depth level designs out on paper, going into details such as combat setup, special props and enemy types, all the while using the film as their main reference point. They would then create an animatic of the level, working out problems and fine-tuning design concepts. The levels would then be created in the game environment. The game is also graphically improved over The Two Towers. According to Neil Young, "we've developed some new lighting techniques to allow the characters to look richer. We are pushing 2x the number of polys & 2x the texture density [...] we also stream our geometry and textures from the disc so the game has a much higher density of imagery." Enemy AI was improved, and developers also spent a lot of time working on the sound of the game, which was THX certified.

Producer Glen Schofield stated the biggest challenge the developers were facing was "just trying to match the breathtaking look and feel of the movies". Similarly, Neil Young said "We wanted to make something that's authentic and true to the movie. The people on our team really care about making a game that aspires to more than just a sequel, they want to make this equivalent to the movie experience itself." EA Redwood Shores worked closely with New Line Cinema to make the games as authentic as possible, using the actual reference photos, drawings, models, props, lighting studies and motion capture data. EA's partner relations director, Nina Dobner said:

> Both New Line and the film production company in New Zealand are integrally tied into the entire development process of the game. Right from the conceptual stage down to the final production builds, their input is sought and listened to. We don't consider New Line a licensor, but more a true partner. As soon as we have the earliest storyboards and bare bones outline for a game, New Line are right at the table with me, giving their feedback. This is also the stage at which we introduce Peter Jackson, Barrie Osborne and the rest of the film production team to the key concepts and get their feedback. From here on, I meet with the actors, the film-makers and New Line on a regular basis to elicit feedback and new ideas as we move forward with the development. We are so deeply tied into the film production that we actually opened our own offices within the 3 foot 6 Weta offices in New Zealand during the pick-up shooting so we could be closer to the action and the assets.

Dobner said that during the development of the game, she traveled to New Zealand once a month with builds of the game for the filmmakers to play, and on which to give their feedback, and that in total, EA had acquired a quarter of a million different assets from the production. Schofield further pointed out "we even hired the same stunt doubles from the movie to help us render the most realistic movements in the game." Dobner also said "we want the game to not just look like the films but to be exactly like the films." She commented that no details in the game were made up; "when we were reproducing Minas Tirith [...] we felt the team would benefit from being able to see and feel a piece of the actual movie set. Unfortunately, the set had already been dismantled. So, while in New Zealand, I searched the various warehouses to find remnants of the dismantled set. After much work, I returned to San Francisco proudly bearing four bricks from the Minas Tirith set."

## Reception

The Return of the King received "generally favorably reviews" across all systems; the Game Boy Advance version holds an aggregate score of 77 out of 100 on Metacritic, based on 13 reviews; the GameCube version 84 out of 100, based on 23 reviews; the PC version 78 out of 100, based on 18 reviews; the PlayStation 2 version 85 out of 100, based on 31 reviews; and the Xbox version 84 out of 100, based on 31 reviews.

As an adaptation, the game was praised by GameZone's Michael Knutson as "the best movie to game conversion that has come out in a long time" and by GameSpy's Raymond Padilla as setting "a new standard for video game adaptations of movies."

The graphics and THX-certified audio were lauded by critics. The game's animations, scenery, player models, cutscenes, music and voice acting were particularly well received. "Sound effects used in the game will also blow you away," Knutson said, "Everything from the explosions, swords clashing, hundreds of incoming enemies storming your way, all sounds like it came directly from the movie!" GameSpot's Greg Kasavin noted that "Frame rate issues do affect each version of the game, to varying degrees, and none of the character models for the main characters look all that remarkable," but conceded that "all other aspects of The Return of the King's graphics are outstanding [...] The game's audio is even more effective than the graphics at conveying the intensity of the action." Ian McKellen's narration of the game as Gandalf was also praised by GameSpot and Game Informer.

The game's combat was praised by most critics. Electronic Gaming Monthly's Crispin Boyer described the game as "a thrill ride. And not just 'cause Return of the King unleashes larger hordes of foes than last year's equally slick Two Towers prequel. Many of Return of the King's levels actually force you to multitask while you hack and slash." PC Gamer UK's Tony Ellis wrote "combat in RotK is superbly satisfying. Your blows connect with a solid, visceral thud you can almost feel." He also noted the variation between levels. Eurogamer's Kristan Reed praised the "subtleties of the combat." In contrast, Game Informer's Matthew Kato found the gameplay to be "repetitious", writing "sometimes I got the feeling that I was working harder only to have less fun than in Two Towers." The co-op mode was also praised.

The Return of the King was criticized for its poor camera placement. "What's the use of a new graphics engine and character models when the view is from so far away?" asked Kato. Reed complained about "camera switches which reverse the controls, or worse, completely obscure your viewpoint. On just about every mission the camera switching confuses the hell out of you." The game's save function was also criticized. Ellis commented that "You can only save after completing a level [...] which is not so good when you're forced to slog through the same sequences over and over again." Critics also complained about the unskippable cut scenes, occasionally unclear objectives and relatively short length.

The GBA version also received good reviews. GameZone's Steve Hopper found it very similar to the GBA version of Two Towers, but wrote "all in all this is solid action game that I can wholeheartedly recommend for gamers who loved The Two Towers and want more of the same brand of hack and slash action." IGN's Craig Harris wrote "the enhancements to the gameplay definitely enhance an already solid action game, and it's also a very recommended two player experience as well. The Return of the King is a nice compliment to a great film, and a decent follow-up to an already enjoyable action title on the handheld." GameSpot's Frank Provo called it "more satisfying and ultimately more playable" than Two Towers, and praised the differentiation between the characters, the graphics and the experience system. GameSpy's Matt Chandronait was less impressed, criticizing the game's "technical flaws," especially its collision detection. He called it a "repetitive beat-'em-up that require[s] dozens of hours of devotion to unlock every last item, level, and character."

### Sales and awards

In the United States, the Windows version of The Return of the King sold 240,000 copies and earned \$5.5 million by August 2006, after its release in November 2003. It was the country's 86th best-selling computer game during this period. In the United Kingdom, the PlayStation 2 version received a "Platinum" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 300,000 copies.

The wireless version of Return of the King, developed by JAMDAT, won IGN's "Wireless Game of the Year" award for 2003. At the 2003 Spike Video Game Awards, Return of the King was nominated for two awards; "Best Animation" and "Best Game Based on a Movie". It lost in both categories, to Dead or Alive Xtreme Beach Volleyball and Enter the Matrix, respectively. During the 7th Annual Interactive Achievement Awards, the Academy of Interactive Arts & Sciences awarded the game in two categories: "Outstanding Achievement in Character Performance - Male" (for Elijah Wood's voice role as Frodo) and "Outstanding Achievement in Sound Design"; it also received a nomination for "Computer Action/Adventure Game of the Year". In 2014, IGN included the game in their list of the "5 Best Lord of the Rings Video Games."

### Peter Jackson reaction

Despite the game's receiving general critical acclaim and selling well, Peter Jackson, director of the Lord of the Rings film trilogy, stated that the video game tie-in for his next film, King Kong, would not be developed by EA, but by Ubisoft. Jackson's manager claimed that despite EA saying the filmmakers were heavily involved in the making of the game, the developers were not interested in Jackson's input on the game. Additionally, Jackson had played Beyond Good & Evil, and wanted to work with producer Michel Ancel, who was at Ubisoft.

2003 Video game

D.I.C.E. Award for Outstanding Achievement in Audio Design winners

D.I.C.E. Award for Outstanding Achievement in Character winners

Multiplayer and single-player video games

Role-playing games based on Middle-earth

The Lord of the Rings (film series) video games

Video games developed in the United States

Video games featuring female protagonists


Doo-Wops & Hooligans

Doo-Wops & Hooligans is the debut studio album by American singer-songwriter Bruno Mars. It was released on October 4, 2010, by Atlantic and Elektra Records and was made available to listen before its official release on September 24, 2010. After the release of the EP It's Better If You Don't Understand, Mars's writing and production team, the Smeezingtons, began working on the album with Needlz, Supa Dups and Jeff Bhasker as producers. The album title was chosen to reflect simplicity and appeal to males and females.

Doo-Wops & Hooligans draws on a variety of influences. Lyrically, the album visualizes carefree optimism along with failed relationships, pain and loneliness. Doo-Wops & Hooligans received generally favorable reviews from music critics, who praised the album's similarity to the work of American artists Michael Jackson and Jason Mraz, although others felt that the album tried too hard to appeal to all groups. About.com's Bill Lamb and Rolling Stone's Jody Rosen called Doo-Wops & Hooligans one of the year's best debut albums.

Doo-Wops & Hooligans topped the charts in Canada, Ireland, the Netherlands, Switzerland and the United Kingdom. It peaked at number three on the Billboard 200 albums chart and was certified seven-times platinum by the Recording Industry Association of America (RIAA), nine-times platinum by the Recorded Music NZ (RMNZ) and six-times by the British Phonographic Industry (BPI). As of 2020, the album has sold over 15 million copies globally. The first two singles, "Just the Way You Are" and "Grenade" were successful internationally, topping the charts in the United States, Australia, Canada, New Zealand and the United Kingdom. Subsequent singles "The Lazy Song", which topped the charts in the United Kingdom and Denmark, and "Marry You" reached the top ten in over ten countries. "Talking to the Moon" and "Count On Me" had a limited release.

At the 53rd Annual Grammy Awards in 2011, "Just the Way You Are" received a Grammy Award in the Best Male Pop Vocal Performance category. Doo-Wops & Hooligans received five nominations for the 54th Grammy Awards in 2012, including Album of the Year, Best Pop Vocal Album and Record of the Year and Song of the Year for the single "Grenade". It was promoted primarily through the Doo-Wops & Hooligans Tour (2010–2012) and a co-headline tour with Janelle Monáe, called Hooligans in Wondaland Tour (2011), along with a number of television appearances.

## Background and development

After the release of the hit singles "Nothin' on You" and "Billionaire", the Smeezingtons (a songwriting and record-producing trio consisting of Bruno Mars, Philip Lawrence and Ari Levine) were asked to begin working on Mars's debut album, having a six-month deadline. "The demand changed", leaving them with one month to finish the album. While establishing himself as a composer and artist, Mars worked with several artists and spent long periods of time in the recording studio "figuring out the production and the writing process"; he believed that "it was training for me to put out my own album." In early September 2010, Doo-Wops & Hooligans was being mixed by Manny Marroquin at Larrabee Studios.

Mars said about the album title, "I have records that women are going to relate to and men are going to relate to. So doo-wops are for the girls, and hooligans are for the guys." He elaborated in several interviews: "I grew up listening to my dad, who loved doo-wop music"; those sounds are "straight to the point" and simple; they rely on a "beautiful melody and voice", representing his romantic side. Due to his youth, he also liked to party (indicating his hooligan side). Mars said in an MTV News interview that he had completed his debut album. His debut EP, It's Better If You Don't Understand, released earlier in the year, provided "a little taste of what's in store".

In addition to writing the lyrics, the Smeezingtons produced the album with songwriters and other producers. Among them were Needlz and Khalil Walton, who helped compose "Just the Way You Are" by exchanging files. Mars said that the single took him months to create, even though he was only trying to tell a story and it was nothing "deep or poetic". "The Lazy Song", the fifth track, was inspired by a lack of ideas for songs and a disinclination to work. "Marry You", according to Lawrence, was drawn from a spontaneous marriage in Las Vegas. The bonus track, "Somewhere in Brooklyn", was inspired by Mars's father and New York. In the song, a female character is in Brooklyn and the singer is trying to find her.

## Composition

Doo-Wops & Hooligans is primarily a pop, reggae pop and R&B album, also having soul, reggae and rock influences. The album was compared to works by Michael Jackson and Jason Mraz. "Just the Way You Are", "Marry You" and "Runaway Baby" are uptempo songs; the former is an optimistic ballad, with yearning falsetto vocals influenced by U2. "Marry You" is a pop song about a spontaneous marriage idea, and "Runaway Baby" has a funky pop-rock and soul beat. "Marry You" is reminiscent of Coldplay, and "Runaway Baby" evokes Little Richard. "The Lazy Song", another uptempo song, is a reggae track described as an anthem "to sloth" and a "surf stoner's" borrowing from Sugar Ray. The second single, "Grenade", is a darker song with a masochistic message channeling Michael Jackson's "Dirty Diana", Kanye West's production and Shakira's style.

One of the album's promotional singles, "Liquor Store Blues", is a reggae track fusing Michael Jackson with Bedouin Soundclash; the single "Count On Me" is a friendship anthem which channels Israel Kamakawiwoʻole's "Over the Rainbow". The third track, "Our First Time", has been compared to the work of Boyz II Men, Al B. Sure!, D'Angelo and Sade. and is a reggae and R&B song. "Talking to the Moon" is a power ballad expressing the singer's pain and loneliness, primarily in the chorus. The last track, "The Other Side", features B.o.B and Cee-Lo Green. It has been called the album's highlight, with its most experimental and complex production. "Somewhere in Brooklyn", which was only released in Germany as a promotional single, was included as a bonus track on several Doo-Wops & Hooligans editions.

## Singles

"Just the Way You Are" was released digitally as the album's lead single in various countries on July 20, 2010. The song was critically acclaimed, with reviewers praising its piano balladry and romantic lyrics. It topped the charts in the United States, Australia, New Zealand, the Netherlands and the United Kingdom, and reached the top ten in several other countries. "Just the Way You Are" received a Grammy Award in the Best Male Pop Vocal Performance category at the 53rd Annual Grammy Awards.

"Grenade", the album's second single, had been premiered as its second (and last) promotional single on September 28, 2010, before its stand-alone release in October 2010. It was also well received by critics, most of whom praised Mars's vocals. The single surpassed "Just the Way You Are"'s success, topping the charts in nearly every country where it was released. The song was his third number-one on the Hot 100. In 2012, "Grenade" received three Grammy nominations at the 54th Annual Grammy Awards: Record of the Year, Song of the Year and Best Pop Solo Performance.

"The Lazy Song", was issued as the album's third single on February 15, 2011. It received mixed reviews. Some critics though it had a laid-back groove; others called it "filler", with empty lyrics which were an embarrassment to the album. The song topped the charts in the United Kingdom and Denmark, reached the top five in the US, Austria, Canada and New Zealand. Its music video was a single, long shot of Mars playing with five monkeys. An alternate video features Leonard Nimoy on his lazy daily routine.

"Talking to the Moon" was released as a single only in Brazil after it appeared on the 2011 soundtrack of the Brazilian telenovela, Insensato Coração (Irrational Heart). The song topped the Billboard Brasil Hot Pop & Popular and the Brasil Hot 100 Airplay charts. It spent nine weeks at number one on the latter chart, and topped the former chart for 22 weeks. The song received mixed reviews from critics, who praised its slow pace and lyrics but criticized its overwhelming production.

"Marry You" was not released as a single in the United States, despite considerable airplay on mainstream and adult top-40 radio stations. However, it was first released in the United Kingdom on August 22, 2011, via digital download. The song was praised for its "instantly hummable melody and a sing-songy chorus", reminiscent of 1960s pop. It reached the top ten in Australia, Canada and New Zealand.

"Count On Me" was announced as the sixth single, with a radio release date of November 7, 2011, in Australia. The song reached the top ten in Austria, Portugal and Spain, and the top twenty in Australia and New Zealand. It was praised for its arrangement and "uplifting" vibe, and compared with "Over The Rainbow" by Israel Kamakawiwoʻole.

## Release and promotion

The release of Doo-Wops & Hooligans was announced on August 25, 2010, with T-shirts, a screen-printed poster autographed and hand-numbered by Mars and photos of the singer included in the first 500 preorders. Its cover art was released five days later. The track listing, which included three of the four songs from Mars's EP, was announced by Atlantic Records on September 9. The album's standard edition was released in the US on October 4, 2010. A deluxe edition was also released, which included a remix of "Just the Way You Are" featuring Lupe Fiasco and "Somewhere in Brooklyn" (originally from It's Better If You Don't Understand) and the music videos of "Just the Way You Are" and "The Other Side". Other versions were released, culminating in the Japanese Platinum Edition.

On September 21, 2010, "Liquor Store Blues" featuring Damian Marley (the first of three promotional singles) was released in various countries. Three days later, the album was made available to listen before its official release on Myspace. "Grenade" was released as the second promotional single on September 28, 2010, via iTunes. The third promotional single, "Somewhere in Brooklyn", was released in Germany on January 4, 2011. "Runaway Baby" was performed at several shows, including The X Factor, the 54th Annual Grammy Awards and the Super Bowl XLVIII halftime show. The performances were praised by several critics, and the song charted in the US, New Zealand and the UK.

To promote the album, Mars gave several performances. The first, with his four-piece band, was at the Bowery Ballroom in New York City on August 25, 2010. In early October he performed "Just The Way You Are" and a medley of "Nothing On You" and "Grenade" for the first time on national television on Saturday Night Live, and received a positive critical reaction. This was followed by The Ellen DeGeneres Show, a Billboard Tastemakers video session and Mars's debut performance of "The Lazy Song" on Kidd Kraddick's radio show. Atlantic Records allowed the musical television series Glee to cover "Just the Way You Are" and "Marry You" in November 2010, and Mars sang "Grenade" on the Late Show with David Letterman that month. An acoustic version of "Just the Way You Are" was performed at the Grammy Nominations concert in December 2010 for the 53rd Grammy Awards.

Mars began the fall leg of Maroon 5's Palm Trees & Power Lines Tour, opening shows with OneRepublic, on October 6, 2010, in Santa Barbara, California. He then supported Travie McCoy on his European tour from mid-October to early November. The album was promoted by the Doo-Wops & Hooligans Tour, Mars's first headlining concert tour, which started on November 16 in San Francisco. Its second leg, from January to March 2011, consisted of concerts in Europe and was followed by dates in Asia and Oceania. Dates for the former tour in Europe, the Caribbean and South America were added. Mars concluded the tour on January 28, 2012, in Florianópolis, Brazil. In early 2011, a co-headline tour with Janelle Monáe, called Hooligans in Wondaland Tour, was announced. The concert tour was performed in North America in May and June 2011.

On October 2, 2020, Atlantic Records announced they would be celebrating the tenth anniversary of Doo-Wops & Hooligans. The music videos of the album were remastered in 4K Ultra HD, and six brand new lyric videos were released. The label also made Doo-Wops & Hooligans merchandise available for purchase for a limited time on Mars's official webstore. Moreover, the album will be made available in a limited yellow vinyl edition, exclusively via Walmart, on November 27, 2020. Several Atlantic Records' artists covered songs from the album as part of its tenth anniversary.

## Critical reception

Doo-Wops & Hooligans was met with generally favorable reviews from music critics. At Metacritic, the album received an average score of 61, based on 13 reviews. Aggregator AnyDecentMusic? gave Doo-Wops & Hooligans 4.9 out of 10, based on their assessment of the critical consensus.

Leah Greenblatt of Entertainment Weekly gave Doo-Wops & Hooligans a B+ grade. Greenblatt praised Mars's "instant-access melodies", "creamy" productions and "sly snatches of dance-floor swagger", but said that some of the album's musical styles did not suit the singer. Alex Young of Consequence called Doo-Wops & Hooligans "fulfilling [with] very few holes", giving the album a B− grade but calling Mars's vocals "gold". The Daily Telegraph's Tom Gockelen-Kozlowski wrote that the album had a "bundle of top-drawer melodies, making commercial success all but a certainty" and gave it four stars out of five. Jody Rosen of Rolling Stone called it "the year's finest debut" with "10 near-perfect" tracks, and gave the album three-and-a-half start out of five. According to Rosen, its songs "deliver pleasure without pretension". Rosen and The Boston Globe's Ken Capobianco praised Mars's vocal performance and talent for composing melodies. Although Capobianco found the debut album "promising", he was disappointed by its lack of self-revelation. Sean Fennessey of The Washington Post called it "effortlessly tuneful" and a good start to a "durable career". The New York Times's Jon Caramanica described Doo-Wops & Hooligans as a "fantastically polyglot record that shows him to be a careful study across a range of pop songcraft" and praised its range of influences.

In a mixed review, Tim Sendra of AllMusic praised most of the songs for their "laid-back groove" but found that the quality dropped when Mars "turns up the volume and boosts the tempo". Sendra gave the album three stars out of five, calling it "an uneven debut ... [that] doesn't tap into his potential as a writer or a producer". Scott Kara of The New Zealand Herald enjoyed the album's first two tracks, but wrote that the rest could have had more "potency" and rated Doo-Wops & Hooligans three out of five. Tony Clayton-Lea of The Irish Times wrote that the record is "full of the kind of catchy modern pop that is impossible to dislike or dislodge ... most of the tunes are cocktail bangers hot enough to melt ice." According to The Independent's Andy Gill, the album "seeks too hard to display Mars' multifaceted talents".

Eric Henderson criticized Doo-Wops & Hooligans in Slant Magazine, saying that it "manages to wear out its welcome about halfway through" and calling it an attempt to "please just about everybody." He gave the album two-and-a-half stars out of 5. With the same rating, Jamie Milton of musicOMH wrote that it "involves throwing everything into the fire", "a contrast taken too far". Milton called it (in common with other debut albums) "opportunistic ... regardless of any forthcoming trends in pop, there's a song on the album pitched to take grasp of it all." A Q reviewer who gave the album two out of five stars wrote, "Mostly, he has little to say." The Guardian's Alexis Petridis also gave it two out of five stars due to Mars's "saccharine sound" and poor lyrical composition. According to Petridis, the album should have been more "groundbreaking". The Scotsman and Mike Diver of the BBC said that Mars could have made an album for mass appreciation. The Scotsman reviewer wished that Mars had recorded something more "sophisticated"; Diver said that the album is not suitable for "anyone with life and love experience beyond passing notes around at the back of class".

### Accolades

The album's lead single, "Just The Way You Are", received the Best Male Pop Vocal Performance award at the 53rd Annual Grammy Awards in 2011 and received the Top Radio Song award at the 2011 Billboard Music Awards. Doo-Wops & Hooligans was nominated for the International Album of the Year award at the 2011 Danish GAFFA Awards, Best Album Pop Rock International at the 2012 Swiss Music Awards, and received two nominations (Best Pop Vocal Album and Album of the Year) at the 54th Annual Grammy Awards in 2012. The album's second single, "Grenade", received three nominations (Record of the Year, Song of the Year and Best Pop Solo Performance) for the 2012 Grammys. Rolling Stone's Jody Rosen and Bill Lamb of About.com called the album one of the year's best debuts. Lamb praised Mars's vocals and most of the melodies as "surefire", calling Mars a "creative artist" and saying that on his next album the singer could "stretch the horizons further and deliver truly memorable songs". Rosen described the songs as "near-perfect", "mov[ing] from power ballads to bedroom anthems ... Call it bubblegum that eats like a meal." In November 2013, the Doo-Wops & Hooligans artwork designed by Nick Bilardello was 31st on Complex' "50 Best Pop Album Covers of the Past Five Years". Susan Cheng wrote that Mars would have an enduring career, as "depicted in the path left behind by a black jet on the cover" of the album, whose "sunny hues convey a sense of self-confidence and the singer's outlook on the road ahead ... the silhouette in the lower right, presumably a representation of Bruno Mars, reveals humility in the wake of so much success."

## Commercial performance

Doo-Wops & Hooligans debuted (and peaked) at number three on the Billboard 200, with sales of 55,000 on its October 13, 2010, issue date in the United States. It topped Billboard's Top Catalog Albums chart; it remained at number one for 11 weeks, surpassing Bob Marley and the Wailers’ compilation album Legend (1984) for the most weeks at number one in 2013. The album had the second-longest stretch at number one for a male artist, behind Michael Jackson’s 2003 greatest-hits album Number Ones (19 weeks). During the week of February 5, 2014 (after Mars's Grammy appearance and performance at the Super Bowl XLVIII halftime show), sales of Doo-Wops & Hooligans increased by 303% and it rebounded to number 19 on the Billboard 200. The album was certified seven times platinum by the Recording Industry Association of America (RIAA), and sold 2,626,000 million copies in the United States by July 2017. As of January 6, 2021, Doo-Wops & Hooligans spent 500 weeks on the Billboard 200, becoming the ninth title to reach the aforementioned weeks. Doo-Wops & Hooligans is also the longest-running debut album on the aforementioned chart. According to the RIAA, the album was the ninth highest certified album of the 2010s decade.

In Canada, it debuted at number six. After fluctuating on the chart, the album reached number one four months later on February 5, 2011. It has been certified triple platinum by Music Canada. The album debuted at number five, peaked at number two and was certified ten times platinum in New Zealand. It debuted at number seven in Australia, peaked at number two and was certified quadruple platinum by the Australian Recording Industry Association (ARIA) for shipments of 280,000 copies.

Doo-Wops & Hooligans debuted in the United Kingdom at number 79 on October 24, 2010, with first-week sales of 6,775 imported copies. On its first chart week of 2011, it replaced Rihanna's Loud at number one and spent another week atop the chart. Doo-Wops & Hooligans was 2011's second million-selling album in the UK. It was the year's third-bestselling album, with sales of 1.2 million copies. As of November 2016, the album sold 1,712,854 copies and in 2018 it was certified sixtuple platinum by the British Phonographic Industry (BPI). It debuted atop the Irish and Scottish album charts and it was certified four times platinum by the Irish Recording Music Association (IRMA).

In the Philippines, Doo-Wops & Hooligans received a double-diamond certification from the Philippine Association of the Record Industry (PARI) in 2014 for sales of 300,000 copies and is the country's seventh-best-selling album. It topped the charts in Flanders, Croatia, the Netherlands, Germany and Switzerland. The album sold 500,000 copies in Germany (its European high), and was certified quintuple gold by the BVMI. It reached the top 10 in Austria, Denmark, Finland, Mexico, Norway, Poland, Portugal, Spain and Sweden, and was certified four times platinum by IFPI Denmark. By 2021, Doo-Wops & Hooligans had sold more than 15 million copies worldwide.

## Track listing

- Co-producer

## Personnel

Credits adapted from the liner notes of Doo-Wops & Hooligans.

Technical and composing credits

- The Smeezingtons – executive producer, production
- Bruno Mars – vocals, instruments
- Ari Levine – instruments, mixing, engineer
- Dwayne "Supa Dups" Chin-Quee – drums, production, arranger, programmer
- Mitchun "Kahn" Chin – keys, guitar, bass
- Brody Brown – instruments
- Needlz – production
- Jeff Bhasker – production
- Damian Marley  – rapping
- B.o.B – rapping
- CeeLo Green – vocals
- DJ Dizzy (Jash Negandhi) – scratching

Creative credits

- Nicki Bilardello – art direction, design
- Katie Robinson – marketing director
- Michelle Piza – packaging manager

Recording personnel

- Stephen Marcussen – mastering
- Manny Marroquin – mixing
- Christian Plata – mixing assistant
- Erik Madrid – mixing assistant
- Graham Marsh – engineer

## Charts

### Weekly charts

### Year-end charts

### Decade-end charts

### All-time charts

## Certifications

## Release history

## See also

- List of best-selling albums in the Philippines

2010 studio album by Bruno Mars