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Theatre of ancient Greece
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Bronze statue of a Greek actor. The half-mask over the eyes and nose identifies the figure as an actor. He wears a man's conical cap but female garments, following the Greek custom of men playing the roles of women. 150-100 BCE.
The ancient Greek drama was a theatrical culture that flourished in ancient Greece from c. 700 BC. The city-state of Athens, which became a significant cultural, political, and military power during this period, was its center, where it was institutionalised as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy (late 500 BC), comedy (490 BC), and the satyr play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies and allies in order to promote a common cultural identity. Only men were allowed to play female parts.
Contents
[hide]
1 Etymology
2 Origins
3 New inventions during the Classical Period
4 Hellenistic period
5 Characteristics of the buildings
5.1 Scenic elements
6 Masks
6.1 Masks
6.2 Mask details
6.3 Mask functions
6.4 Other costume details
7 See also
8 Further reading
9 References
9.1 Bibliography
10 External links
Etymology[edit]
The word τραγῳδία (tragoidia), from which the word "tragedy" is derived, is a compound of two Greek words: τράγος (tragos) or "goat" and ᾠδή (ode) meaning "song", from ἀείδειν (aeidein), "to sing".[1] This etymology indicates a link with the practices of the ancient Dionysian cults. It is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy.[2]
Origins[edit]
Main article: Greek tragedy
Panoramic view of the ancient theatre at Epidaurus.
The classical Greeks valued the power of spoken word, and it was their main method of communication and storytelling. Bahn and Bahn write, "To Greeks the spoken word was a living thing and infinitely preferable to the dead symbols of a written language." Socrates himself believed that once something was written down, it lost its ability for change and growth. For these reasons, among many others, oral storytelling flourished in Greece.[3]
Greek tragedy as we know it was created in Athens around the time of 532 BC, when Thespis was the earliest recorded actor. Being a winner of the first theatrical contest held in Athens, he was the exarchon, or leader,[4] of the dithyrambs performed in and around Attica, especially at the rural Dionysia. By Thespis' time, the dithyramb had evolved far away from its cult roots. Under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Because of these, Thespis is often called the "Father of Tragedy"; however, his importance is disputed, and Thespis is sometimes listed as late as 16th in the chronological order of Greek tragedians; the statesman Solon, for example, is credited with creating poems in which characters speak with their own voice, and spoken performances of Homer's epics by rhapsodes were popular in festivals prior to 534 BC.[5] Thus, Thespis's true contribution to drama is unclear at best, but his name has been given a longer life, in English, as a common term for performer — i.e., a "thespian."
The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia. This was organized possibly to foster loyalty among the tribes of Attica (recently created by Cleisthenes). The festival was created roughly around 508 BC. While no drama texts exist from the sixth century BC, we do know the names of three competitors besides Thespis: Choerilus, Pratinas, and Phrynichus. Each is credited with different innovations in the field.
More is known about Phrynichus. He won his first competition between 511 BC and 508 BC. He produced tragedies on themes and subjects later exploited in the golden age such as the Danaids, Phoenician Women and Alcestis. He was the first poet we know of to use a historical subject – his Fall of Miletus, produced in 493-2, chronicled the fate of the town of Miletus after it was conquered by the Persians. Herodotus reports that "the Athenians made clear their deep grief for the taking of Miletus in many ways, but especially in this: when Phrynichus wrote a play entitled "The Fall of Miletus" and produced it, the whole theatre fell to weeping; they fined Phrynichus a thousand drachmas for bringing to mind a calamity that affected them so personally and forbade the performance of that play forever."[6] He is also thought to be the first to use female characters (though not female performers).[7]
Until the Hellenistic period, all tragedies were unique pieces written in honour of Dionysus and played only once, so that today we primarily have the pieces that were still remembered well enough to have been repeated when the repetition of old tragedies became fashionable (the accidents of survival, as well as the subjective tastes of the Hellenistic librarians later in Greek history, also played a role in what survived from this period).
New inventions during the Classical Period[edit]
Theater of Dionysus, Athens, Greece. Brooklyn Museum Archives, Goodyear Archival Collection
After the Great Destruction of Athens by the Persian Empire in 480 BCE, the town and acropolis were rebuilt, and theatre became formalized and an even greater part of Athenian culture and civic pride. This century is normally regarded as the Golden Age of Greek drama. The centre-piece of the annual Dionysia, which took place once in winter and once in spring, was a competition between three tragic playwrights at the Theatre of Dionysus. Each submitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject). Beginning in a first competition in 486 BC each playwright submitted a comedy.[8] Aristotle claimed that Aeschylus added the second actor (deuteragonist), and that Sophocles introduced the third (tritagonist). Apparently the Greek playwrights never used more than three actors based on what is known about Greek theatre.[9]
Tragedy and comedy were viewed as completely separate genres, and no plays ever merged aspects of the two. Satyr plays dealt with the mythological subject matter of the tragedies, but in a purely comedic manner.
Hellenistic period[edit]
Roman, Republican or Early Imperial, Relief of a seated poet (Menander) with masks of New Comedy, 1st century B.C. – early 1st century A.D., Princeton University Art Museum
The power of Athens declined following its defeat in the Peloponnesian War against the Spartans. From that time on, the theatre started performing old tragedies again. Although its theatrical traditions seem to have lost their vitality, Greek theatre continued into the Hellenistic period (the period following Alexander the Great's conquests in the fourth century BCE). However, the primary Hellenistic theatrical form was not tragedy but 'New Comedy', comic episodes about the lives of ordinary citizens. The only extant playwright from the period is Menander. One of New Comedy's most important contributions was its influence on Roman comedy, an influence that can be seen in the surviving works of Plautus and Terence.
Characteristics of the buildings[edit]
Ancient Greek theatre in Delos
The Ancient Theatre of Delphi.
The plays had a chorus from 12 to 15[10] people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "seeing place". Later, the term "theatre" came to be applied to the whole area of theatron, orchestra, and skené. The coryphaeus was the head chorus member who could enter the story as a character able to interact with the characters of a play.
A drawing of an ancient theatre. Terms are in Greek language and Latin letters.
The theatres were originally built on a very large scale to accommodate the large number of people on stage, as well as the large number of people in the audience, up to fourteen thousand. Mathematics played a large role in the construction of these theatres, as their designers had to be able to create acoustics in them such that the actors' voices could be heard throughout the theatre, including the very top row of seats. The Greek's understanding of acoustics compares very favourably with the current state of the art. The first seats in Greek theatres (other than just sitting on the ground) were wooden, but around 499 BCE the practice of inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. They were called the "prohedria" and reserved for priests and a few most respected citizens.
In 465 BCE, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the skênê (from which the word "scene" derives). The death of a character was always heard behind the skênê, for it was considered inappropriate to show a killing in view of the audience.[citation needed] Conversely, there are scholarly arguments that death in Greek tragedy was portrayed off stage primarily because of dramatic considerations, and not prudishness or sensitivity of the audience.[11] In 425 BC a stone scene wall, called a paraskenia, became a common supplement to skênê in the theatres. A paraskenia was a long wall with projecting sides, which may have had doorways for entrances and exits. Just behind the paraskenia was the proskenion. The proskenion ("in front of the scene") was beautiful, and was similar to the modern day proscenium.
Greek theatres also had tall arched entrances called parodoi or eisodoi, through which actors and chorus members entered and exited the orchestra. By the end of the 5th century BC, around the time of the Peloponnesian War, the skênê, the back wall, was two stories high. The upper story was called the episkenion. Some theatres also had a raised speaking place on the orchestra called the logeion.
Scenic elements[edit]
There were several scenic elements commonly used in Greek theatre:
mechane, a crane that gave the impression of a flying actor (thus, deus ex machina)
ekkyklêma, a wheeled platform often used to bring dead characters into view for the audience
pinakes, pictures hung to create scenery
thyromata, more complex pictures built into the second-level scene (3rd level from ground)
phallic props were used for satyr plays, symbolizing fertility in honour of Dionysus.
Masks[edit]
Masks[edit]
Tragic Comic Masks Hadrian's Villa mosaic
The Ancient Greek term for a mask is prosopon (lit., "face"),[12] and was a significant element in the worship of Dionysus at Athens, likely used in ceremonial rites and celebrations. Most of the evidence comes from only a few vase paintings of the 5th century BC, such as one showing a mask of the god suspended from a tree with decorated robe hanging below it and dancing and the Pronomos vase,[13] which depicts actors preparing for a Satyr play.[14] No physical evidence remains available to us, as the masks were made of organic materials and not considered permanent objects, ultimately being dedicated at the altar of Dionysus after performances. Nevertheless, the mask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.[15]
Masks were also made for members of the chorus, who play some part in the action and provide a commentary on the events in which they are caught up. Although there are twelve or fifteen members of the tragic chorus, they all wear the same mask because they are considered to be representing one character.
Mask details[edit]
Mask dating from the 4th/3rd century BC, Stoa of Attalos
Illustrations of theatrical masks from 5th century display helmet-like masks, covering the entire face and head, with holes for the eyes and a small aperture for the mouth, as well as an integrated wig. These paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality.[14] This demonstrates the way in which the mask was to 'melt' into the face and allow the actor to vanish into the role.[16] Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character.
The mask-makers were called skeuopoios or "maker of the properties," thus suggesting that their role encompassed multiple duties and tasks. The masks were most likely made out of light weight, organic materials like stiffened linen, leather, wood, or cork, with the wig consisting of human or animal hair.[17] Due to the visual restrictions imposed by these masks, it was imperative that the actors hear in order to orient and balance themselves. Thus, it is believed that the ears were covered by substantial amounts of hair and not the helmet-mask itself. The mouth opening was relatively small, preventing the mouth to be seen during performances. Vervain and Wiles posit that this small size discourages the idea that the mask functioned as a megaphone, as originally presented in the 1960s.[14] Greek mask-maker, Thanos Vovolis, suggests that the mask serves as a resonator for the head, thus enhancing vocal acoustics and altering its quality. This leads to increased energy and presence, allowing for the more complete metamorphosis of the actor into his character.[18]
Mask functions[edit]
Mosaic detail from the House of the Faun
In a large open-air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to create a sense of dread in the audience creating large scale panic, especially since they had intensely exaggerated facial features and expressions.[18] They enabled an actor to appear and reappear in several different roles, thus preventing the audience from identifying the actor to one specific character. Their variations help the audience to distinguish sex, age, and social status, in addition to revealing a change in a particular character's appearance, e.g. Oedipus after blinding himself.[19] Unique masks were also created for specific characters and events in a play, such as The Furies in Aeschylus' Eumenides and Pentheus and Cadmus in Euripides' The Bacchae. Worn by the chorus, the masks created a sense of unity and uniformity, while representing a multi-voiced persona or single organism and simultaneously encouraged interdependency and a heightened sensitivity between each individual of the group. Only 2-3 actors were allowed on the stage at one time, and masks permitted quick transitions from one character to another. There were only male actors, but masks allowed them to play female characters.
Other costume details[edit]
Comedy and tragedy masks
See also: Sock and buskin
The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock. For this reason, dramatic art is sometimes alluded to as "Sock and Buskin."
Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is the muse of comedy and is similarly associated with the mask of comedy and the comedic "socks".
Male actors playing female roles would wear a wooden structure on their chests (posterneda) to imitate the look of breasts and another structure on their stomachs (progastreda) to make them appear softer and more lady like. They would also wear white body stockings under their costumes to make their skin appear fairer.
Most costuming detail comes from pottery paintings from that time as costumes and masks were fabricated out of disposable material, so there are little to no remains of any costume from that time. The biggest source of information is the Pronomos Vase where actors are painted at a show's after party.
Costuming would give off a sense of character, as in gender, age, social status, and class. For example, characters of higher class would be dressed in nicer clothing, although everyone was dressed fairly nice. Contrary to popular belief, they did not dress in only rags and sandals, as they wanted to impress. Some examples of Greek theatre costuming include long robes called the chiton that reached the floor for actors playing gods, heroes, and old men. Actors playing Goddesses and women characters that held a lot of power wore purples and golds. Actors playing Queens and Princesses wore long cloaks that dragged on the ground and were decorated with gold stars and other jewels, and warriors were dressed in a variety of armor and wore helmets adorned with plumes. Costumes were supposed to be colourful and obvious to be easily seen by every seat in the audience.
See also[edit]
List of ancient Greek playwrights
List of ancient Greek theatres
History of theatre
Representation of women in Athenian tragedy
Agôn
Ancient Greek comedy
Archon
Aulos
Buskin
Chorêgos
Chorus
Chorus of the elderly in classical Greek drama
Comedy
Coryphaeus
Deus ex machina
Deuteragonist
Didascaliae
Didaskalos
Dionysia festivals
Dithyramb
Eisodos
Ekkyklêma
Episode
Epode
Kommós
Mêchanê
Melpomene
Monody
Ode
Onomastì komodèin
Orchêstra
Parabasis
Párodos
Phlyax play
Protagonist
Rhapsode
Satyr play
Skênê
Sparagmos
Stásimon
Stichomythia
Strophê
Thalia (Muse)
Theatre of ancient Rome
Theatre of Dionysus
Theoric fund
Thespis
Tragedy
Tritagonist
List of films based on Greek drama
Further reading[edit]
Buckham, Philip Wentworth, Theatre of the Greeks, London 1827.
Davidson, J.A., Literature and Literacy in Ancient Greece, Part 1, Phoenix, 16, 1962, pp. 141–56.
Davidson, J.A., Peisistratus and Homer, TAPA, 86, 1955, pp. 1–21.
Easterling, P.E. (editor) (1997). The Cambridge Companion to Greek Tragedy. Cambridge, U.K.: Cambridge University Press. ISBN 0-521-41245-5. CS1 maint: Extra text: authors list (link)
Easterling, Patricia Elizabeth; Hall, Edith (eds.), Greek and Roman Actors: Aspects of an Ancient Profession, Cambridge University Press, 2002. ISBN 0-521-65140-9
Else, Gerald F.
Aristotle's Poetics: The Argument, Cambridge, MA 1967.
The Origins and Early Forms of Greek Tragedy, Cambridge, MA 1965.
The Origins of ΤΡΑΓΩΙΔΙΑ, Hermes 85, 1957, pp. 17–46.
Flickinger, Roy Caston, The Greek theater and its drama, Chicago, University of Chicago Press, 1918
Freund, Philip, The Birth of Theatre, London: Peter Owen, 2003. ISBN 0-7206-1170-9
Haigh, A. E., The Attic Theatre, 1907.
Harsh, Philip Whaley, A handbook of Classical Drama, Stanford University, California, Stanford University Press; London, H. Milford, Oxford University Press, 1944.
Lesky, A. Greek Tragedy, trans. H.A., Frankfurt, London and New York 1965.
Ley, Graham. A Short Introduction to the Ancient Greek Theatre. University of Chicago, Chicago: 2006
Ley, Graham. Acting Greek Tragedy. University of Exeter Press, Exeter: 2015
Loscalzo, Donato, Il pubblico a teatro nella Grecia antica, Roma 2008
McDonald, Marianne, Walton, J. Michael (editors), The Cambridge companion to Greek and Roman theatre, Cambridge ; New York: Cambridge University Press, 2007. ISBN 0-521-83456-2
Moulton, Richard Green, The ancient classical drama; a study in literary evolution intended for readers in English and in the original, Oxford, The Clarendon Press, 1890.
Padilla, Mark William (editor), "Rites of Passage in Ancient Greece: Literature, Religion, Society", Bucknell University Press, 1999. ISBN 0-8387-5418-X
Pickard-Cambridge, Sir Arthur Wallace
Dithyramb, Tragedy, and Comedy , Oxford 1927.
The Theatre of Dionysus in Athens, Oxford 1946.
The Dramatic Festivals of Athens, Oxford 1953.
Rabinowitz, Nancy Sorkin (2008). Greek Tragedy. Malden, MA: Blackwell Publishers. ISBN 978-1-4051-2160-6.
Riu, Xavier, Dionysism and Comedy, 1999. review
Ross, Stewart. Greek Theatre. Wayland Press, Hove: 1996
Rozik, Eli, The roots of theatre: rethinking ritual and other theories of origin, Iowa City: University of Iowa Press, 2002. ISBN 0-87745-817-0
Schlegel, August Wilhelm, Lectures on Dramatic Art and Literature, Geneva 1809.
Sommerstein, Alan H., Greek Drama and Dramatists, Routledge, 2002.
Sourvinou-Inwood, Christiane, Tragedy and Athenian Religion, Oxford:University Press 2003.
Tsitsiridis, Stavros, "Greek Mime in the Roman Empire (P.Oxy. 413: Charition and Moicheutria", Logeion 1 (2011) 184-232.
Wiles, David. Greek Theatre Performance: An Introduction. Cambridge University Press, Cambridge: 2000
Wiles, David. The Masks of Menander: Sign and Meaning in Greek and Roman Performance, Cambridge, 1991.
Wiles, David. Mask and Performance in Greek Tragedy: from ancient festival to modern experimentation, Cambridge, 1997.
Wise, Jennifer, Dionysus Writes: The Invention of Theatre in Ancient Greece, Ithaca 1998. review
Zimmerman, B., Greek Tragedy: An Introduction, trans. T. Marier, Baltimore 1991.
References[edit]
Jump up ^ Merriam-Webster definition of tragedy
Jump up ^ Ridgeway (1910), p. 83
Jump up ^ Bahn, Eugene & Margaret L. Bahn (1970). A History of Oral Interpretation. Minneapolis, MN: Burgess Publishing Company. p. 3.
Jump up ^ Aristotle, Poetics
Jump up ^ Brockett (1999), pp. 16–17
Jump up ^ Herodotus, Histories, 6/21
Jump up ^ Brockett (1999), p. 17
Jump up ^ Kuritz (1988), p. 21
Jump up ^ Kuritz (1988), p. 24
Jump up ^ Jansen (2000)
Jump up ^ Pathmanathan (1965)
Jump up ^ Liddell & Scott via Perseus @ UChicago
Jump up ^ Tufts.edu
^ Jump up to: a b c Vervain & Wiles (2004), p. 255
Jump up ^ Varakis (2004)
Jump up ^ Vervain & Wiles (2004), p. 256
Jump up ^ Brooke (1962), p. 76
^ Jump up to: a b Vovolis & Zamboulakis (2007)
Jump up ^ Brockett & Ball (2000), p. 70
Bibliography[edit]
Brockett, Oscar G. (1999). History of the Theatre (8th ed.). Allyn and Bacon. ISBN 9780205290260.
Brockett, Oscar G.; Ball, Robert (2000). The Essential Theatre (7th ed.). Orlando, FL: Harcourt Brace.
Brooke, Iris (1962). Costume in Greek Classical Drama. London: Methuen.
Jansen, Jan (2000). Lebensqualität im Theater des demokratischen Athen: Kult, Politik und Alte Komödie [Quality of life in the theatre of Democratic Athens: cults, politics and ancient comedy] (PDF) (in German). Munich, Germany: GRIN. ISBN 9783638291873.
Kuritz, Paul (1988). The Making of Theatre History. Englewood Cliffs, NJ: Prentice Hall. ISBN 9780135478615.
Pathmanathan, R. Sri (1965). "Death in Greek tragedy". Greece and Rome. 12 (1): 2–14. JSTOR 642398.
Ridgeway, William (1910). Origin of Tragedy with Special Reference to the Greek Tragedians.
Varakis, Angie (2004). "Research on the Ancient Mask". Didaskalia. 6 (1).
Vervain, Chris; Wiles, David (2004). The Masks of Greek Tragedy as Point of Departure for Modern Performance. New Theatre Quarterly. 67. Cambridge: Cambridge University Press.
Vovolis, Thanos; Zamboulakis, Giorgos (2007). "The acoustical mask of Greek tragedy". Didaskalia. 7 (1).
External links[edit]
Wikisource has original works on the topic: Theatre of ancient Greece
Wikimedia Commons has media related to Ancient Greek theatre.
Wikimedia Commons has media related to Greek and Roman theatre masks.
Ancient Greek theatre history and articles
Drama lesson 1: The ancient Greek theatre
Ancient Greek Theatre
The Ancient Theatre Archive, Greek and Roman theatre architecture – Dr. Thomas G. Hines, Department of Theatre, Whitman College
Greek and Roman theatre glossary
Illustrated Greek Theater – Dr. Janice Siegel, Department of Classics, Hampden–Sydney College, Virginia
Searchable database of monologues for actors from Ancient Greek Theatre
Logeion: A Journal of Ancient Theatre with free access which publishes original scholarly articles including its reception in modern theatre, literature, cinema and the other art forms and media, as well as its relation to the theatre of other periods and geographical regions.
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List of The Daily Show correspondents
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This article is a list of the correspondents and on-screen contributors who have appeared on the satirical television program The Daily Show. Correspondents, collectively known as "The Best F#@king News Team Ever", normally have two roles: "experts" with satirical "senior" titles who the host interviews about certain issues, or hosts of original reporting segments, which often showcase interviews of serious political figures. During Jon Stewart's tenure, the show's contributors often had their own unique recurring segment on the show and tended to appear less frequently; current host Trevor Noah is a former correspondent and contributor who was featured during the Stewart era.
Contents
[hide]
1 Current cast
1.1 Host
1.2 Correspondents
1.3 Contributors
2 Former cast
2.1 Hosts
2.2 Recurring correspondents
2.3 Contributors
3 Timeline chart
4 References
5 External links
Current cast[edit]
Host[edit]
Name
Debut
Notes
Trevor Noah September 28, 2015 Originally debuted as the Senior International Correspondent and as a contributor on December 4, 2014. In March 2015, Comedy Central revealed that he would be hosting the show.
Correspondents[edit]
Name
Debut
Notes
Hasan Minhaj November 19, 2014 Senior Indian Correspondent. Senior Political Correspondent. Senior Congressional Correspondent.
Roy Wood Jr. September 28, 2015 Senior Mars Correspondent.[1] Senior Wall Street Correspondent. Senior Campaign Correspondent. Senior Immigration Correspondent. Senior Hollywood Correspondent. Steve Harvey impersonator.
Desi Lydic September 29, 2015 New Senior Geopolitical Correspondent. Senior Antiquities Correspondent.[1] Senior Campaign Correspondent. Segment Host: "What The Actual Fact?"
Ronny Chieng October 7, 2015 Senior Technology Correspondent.[1] Senior Climatology Correspondent. Senior Basketball Correspondent.
Michael Kosta July 11, 2017 Senior Constitutional Correspondent, Senior American Correspondent
Dulcé Sloan September 7, 2017 Senior Fashion Correspondent
Contributors[edit]
Name
Debut
Notes
Lewis Black July 31, 1996 "Back in Black", he is the longest-running contributor to work on The Daily Show, having served on the show since the beginning.
Neal Brennan March 14, 2016 Contributor, Trevor's friend.
Gina Yashere March 16, 2017 Senior British Correspondent
Former cast[edit]
Hosts[edit]
Name
Year Joined
Year Left
Notes
Craig Kilborn July 22, 1996 December 17, 1998 The original host. Left the show because he was chosen to host The Late Late Show with Tom Snyder's departure. Kilborn appeared on the show 16 years later on Jon Stewart's final episode on August 6, 2015.
Jon Stewart January 11, 1999 August 6, 2015 Succeeded Kilborn as the new host of The Daily Show and is the most prolific host of the show. Stewart's final show was an hour long special on August 6, 2015. He returned to the show on December 7, 2015, to urge Congress to permanently extend a health care law for 9/11 first responders.
Recurring correspondents[edit]
Name
Year Joined
Year Left
Notes
Dan Bakkedahl September 20, 2005 September 25, 2007 Hired to replace departing correspondent Stephen Colbert on September 25, 2005. Filed his final report on September 25, 2007. Bakkedahl was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Samantha Bee July 10, 2003 April 30, 2015 "This Week in God", "Are You Prepared?!?"; The Daily Show's first non-US citizen correspondent; all-time longest-serving regular correspondent after passing Stephen Colbert in 2011; filled in for a sick Jon Stewart on October 7, 2014. Bee departed the show on April 30, 2015, to host Full Frontal with Samantha Bee on TBS. Bee was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015. She is married to fellow former correspondent Jason Jones.
Mary Birdsong January 31, 2002 March 14, 2002 Contributing correspondent.
A. Whitney Brown July 23, 1996 December 15, 1998 "Backfire"; was one of The Daily Show's original correspondents. Had his own The Daily Show special in 1998 called "Weirder Than Whitney".
Nancy Carell December 7, 1999 August 8, 2002 "We Love Showbiz", "Popular Music Omnibus", "Dollars and "Cents"". Was credited under maiden name, Nancy Walls, and has been married fellow former correspondent Steve Carell since 1995. Walls-Carell was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Steve Carell February 11, 1999 April 4, 2005 "Even Stephven", "Produce Pete", "Dollars and "Cents"", "We Love Showbiz", "Slimmin' Down With Steve", "Ad Nauseam". Carell had his own The Daily Show special in May 2001 called "Steve Carell Salutes Steve Carell" highlighting his most popular field assignments on the show. Carell is the first correspondent to become a major movie and television star, and the only correspondent to receive an Academy Award nomination since leaving The Daily Show in early 2005. Carell has since returned numerous times as a featured guest and was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015. He is married to fellow former correspondent Nancy (Walls) Carell.
Wyatt Cenac June 3, 2008 December 13, 2012 Senior Correspondent; also provides voice for Michael Steele puppet. Filed his final report on December 13, 2012, but also made cameo guest appearances on August 15, 2013 for the last show of guest host John Oliver and for Jon Stewart's final episode on August 6, 2015.
Michael Che June 4, 2014 September 18, 2014 Left to co-anchor "Weekend Update" on Saturday Night Live. Shortest correspondent tenure as of 2015.[2] Was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Stephen Colbert June 26, 1997 September 26, 2005 "Even Stephven", "This Week In God", "The Jobbing of America". Stephen Colbert hosted The Daily Show six times (January 24, 2001; February 20 and 22, 2001; March 26–27, 2001; April 3 and 5, 2001; May 2–3, 2001; March 6, 2003; July 6, 2004). Although Colbert left The Daily Show team in mid-2005, through 2010 Stewart frequently "tossed" to him at The Colbert Report at the end of a show. Colbert has also made a number of Daily Show cameos since 2005, particularly in reference to his mock "presidential campaigns" in 2007/08 and 2011/12, and Stewart's stewardship of Colbert SuperPAC in 2011. With a nearly nine-year tenure, Colbert was the longest serving correspondent on The Daily Show until his record was broken by Samantha Bee in 2011. Before taking over as new host of The Late Show on CBS, Colbert made his final appearance for Jon Stewart's last episode on August 6, 2015.
Nate Corddry October 4, 2005 May 2, 2006 The younger brother of correspondent Rob Corddry. As a running joke on the show, older brother Rob would often appear in Nate's segments usually picking on him. This eventually led to the two brothers having their own "Even Stephven"-style debate segment called "Brother vs. Brother". Was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Rob Corddry April 17, 2002 August 24, 2006 "This Week In God", "Come On!", "Popular Music Omnibus", and as he liked to call them, "Poop jokes". Corddry filled in for Stewart (on paternity leave) on February 9, 2006. He left the show in August 2006 to start a film career and to star in The Winner, a Fox comedy that ran from March 4 to March 18, 2007. He has also returned as a special guest correspondent several times since and was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Josh Gad May 5, 2009 June 27, 2011 Contributing Correspondent. Made his last appearance on June 27, 2011. Made an appearance on Jon Stewart's final episode on August 6, 2015.
Vance DeGeneres January 14, 1999 May 17, 2001 "Dollars and "Cents"", "A Tale of Survival", had his own The Daily Show special in 2000 highlighting his popular "Tales of Survival" segments. Was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Rachael Harris October 28, 2002 March 20, 2003 "Mark Your Calendar", "We Love Showbiz".
Ed Helms April 29, 2002 December 05, 2006 "Digital Watch", "Ad Nauseam", "Mark Your Calendar", "We Love Showbiz", "This Week in God". Helms and fellow correspondent Rob Corddry had their own The Daily Show special in 2003 called "I'm a Correspondent: Please Don't Fire Me". Helms made an appearance on July 21, 2008 as a special guest correspondent. Helms was one of the stars of the 2009 comedy The Hangover and was a regular cast member on NBC's The Office, beginning with its third season. Helms was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Jason Jones September 29, 2005 March 26, 2015 "Are You Prepared?!?", "Jason Jones 180"; Filled in for a sick Jon Stewart on October 7, 2014. Departed the show on March 26, 2015. Jones made an appearance on Jon Stewart's final episode on August 6, 2015. He is married to fellow former correspondent Samantha Bee.
Jordan Klepper March 3, 2014 September 21, 2017 New Senior Caucasian Correspondent. Senior Congressional Correspondent. Senior Campaign Correspondent. Senior Technology Correspondent. Senior Fantasy Culture Correspondent. Senior Fantasy Sports Correspondent. Senior Iowan Correspondent. Senior U.K. Correspondent, filled in for a sick Trevor Noah on October 20, 2016. Left the show so he can begin hosting his own spin-off The Opposition w/ Jordan Klepper on September 25, 2017.
Beth Littleford July 24, 1996 May 18, 2000 "The Beth Littleford Interview", "bETh". In 1999, she had her own The Daily Show special called "The Beth Littleford Interview Special", highlighting her popular celebrity interviews. She was the only original correspondent to stay with the show after Jon Stewart took over as host, leaving the show in 2000.
Al Madrigal May 17, 2011 January 12, 2016 Senior Latino Correspondent. California correspondent.
Aasif Mandvi August 9, 2006 October 14, 2015 Senior Middle East Correspondent; started as a contributor; but made correspondent in March 2007.[3] Senior Campaign Correspondent.
Olivia Munn June 3, 2010 September 12, 2011 Senior Asian Correspondent. Made her final appearance on September 12, 2011. Was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
John Oliver July 31, 2006 December 19, 2013 Senior British Person; "Wilmore-Oliver Investigates"; on writing staff from 2007 to 2013. Interim host during the summer of 2013. He departed the show on December 19, 2013 to prepare hosting his own late night show Last Week Tonight with John Oliver on HBO which premiered on April 27, 2014. Returned to host the show on November 13, 2014 to promote Jon Stewart's film, Rosewater. Oliver returned for an appearance on Jon Stewart's final episode on August 6, 2015.
Rob Riggle September 20, 2006 December 10, 2008 Senior Military Affairs Correspondent; Some of his most memorable work on the show included his overseas special assignments. His week-long reports from Iraq in 2007 titled "Operation: Silent Thunder" brought much attention to the show. After the success of "Silent Thunder", he traveled to China for his second overseas four-part series during the 2008 Olympics, titled "Rob Riggle: Chasing the Dragon". Shortly after announcing he would be leaving the show, he made his farewell appearance on December 10, 2008. Riggle made a surprise appearance on the August 3, 2010 show, during an interview with Will Ferrell and again on August 15, 2013 for the last show of guest host John Oliver. Made a cameo the week of Nov 17th in a correspondent report and was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Mo Rocca November 16, 1998 August 20, 2003 "Dollars and "Cents"", "Mark Your Calendar", "Mopinion". Rocca went on to parlay his Daily Show correspondent persona in numerous other cable appearances, such as several VH1 "talking head" shows and at the 2004 political conventions for Larry King Live. Was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Jeff Ross July 22, 1996 June 18, 1997 Contributing correspondent.
Denny Siegel February 2, 1999 April 15, 1999 Contributing correspondent.
Jeff Stilson October 9, 1998 January 18, 1999 Contributing correspondent.
Miriam Tolan June 15, 2000 July 25, 2001 Contributing correspondent. Also occasionally filled in for Nancy Walls on "Dollars and "Cents""
Brian Unger July 22, 1996 December 16, 1998 "Backfire", was one of The Daily Show's original correspondents.
David Wain July 23, 1996 August 6, 1996 Contributing correspondent.
Matt Walsh May 2, 2001 June 25, 2002 News You Can Utilize, "Dollars and "Cents"", had his own The Daily Show special in May 2002 called "Matt Walsh Goes to Hawaii". Walsh was among the former correspondents who made an appearance on Jon Stewart's final episode on August 6, 2015.
Lauren Weedman July 16, 2001 October 7, 2002 "Dollars and "Cents"", "We Love Showbiz".
Jessica Williams January 11, 2012 June 30, 2016 Senior Youth Correspondent. Senior Beyoncé Correspondent. Senior Congressional Correspondent. Senior Campaign Correspondent. Senior Political Correspondent.
Bob Wiltfong April 6, 2004 December 1, 2005 Contributing correspondent.
Lizz Winstead July 22, 1996 December 18, 1997 Original correspondent and co-creator of The Daily Show.
Stacey Grenrock-Woods April 2, 1998 July 14, 2003 Contributing correspondent.
Contributors[edit]
Name
Year Joined
Year Left
Notes
Amy Atkins March 10, 1998 March 23, 1998 Contributor.
Dave Attell April 1, 1999 January 22, 2002 Contributor, "The Ugly American". On August 6, 2015, Attell made a return appearance to say goodbye to Jon Stewart on his final episode.
Michael Blieden July 30, 1996 January 24, 2000 Contributor, original host of "Ad Nauseam".
John Bloom July 25, 1996 June 20, 2000 Contributor, "God Stuff".
Rich Brown October 20, 1998 May 9, 2000 Contributor, "Public Excess". Also a one-time correspondent.
Sameer Butt December 4, 1997 April 16, 1998 Contributor.
Eliza Cossio May 16, 2016 January 24, 2017 Newest Contributor; Senior Latina Contributor
Frank DeCaro October 10, 1996 March 19, 2003 Contributor, "Out at the Movies"; he currently hosts his own program on Sirius Satellite Radio and was a celebrity panelist on GSN's revival of I've Got a Secret.
Mick Foley November 19, 2009 June 18, 2013 Contributor, "Senior Ass Kicker".
Dave Gorman April 24, 2006 October 5, 2006 Contributor, "Poll Smoking"; appeared on the show once as a guest in 2001 to promote Are You Dave Gorman?.
Al Greenwood March 16, 1998 October 18, 2000 Contributor, "Al Up in That". Greenwood (known for his local "Bedspread King" commercials) appeared as the show's "elderly consumer advocate". In 2000, he hosted The Daily Show special "Al Greenwood's Wrinkled Nuts", a best-of collection of the correspondent's field interviews with elderly residents. Greenwood died on June 6, 2001, at age 93. An "in memoriam" clip for Greenwood was shown as the "Moment of Zen" on the show that week.
Buck Henry January 31, 2007 September 24, 2007 Contributor, "The Henry Stops Here", Senior Historical Perspectivist.
John Hodgman January 16, 2006 June 4, 2015 Resident Expert, Deranged Millionaire, "You're Welcome", "Exper-teasers"; "Money Talks"; appeared on the show once as a guest in November 2005 to promote The Areas of My Expertise.
Tom Johnson May 11, 2000 October 2, 2001 Contributor, "Lord Viper Scorpion".
Andy Kindler October 19, 2000 March 21, 2001 Contributor, "TV Guy".
Robert Knight February 4, 1997 April 23, 1997 Contributor.
Ed Lover September 30, 1996 December 19, 1996 Contributor, "Ed Lover's America".
Adam Lowitt December 9, 2015 March 2, 2017 Senior Jewish Correspondent
Demetri Martin November 14, 2005 February 28, 2008 Contributor, "Trendspotting". Left to star in his own Comedy Central show, Important Things with Demetri Martin.
Molly Pesce February 24, 1996 May 28, 1998 Originally co-hosted The Daily Show's movie review segments with Frank DeCaro. Eventually, DeCaro would go solo with his own segment "Out at the Movies" in 1997.
Kristen Schaal March 13, 2008 March 1, 2016 Women's Issues Correspondent; married to long-time Daily Show writer Rich Blomquist.
Tom Shillue September 29, 1998 July 20, 2000 Contributor, "This Week in Hate". Become a correspondent in 2000 before leaving.
Campbell Smith May 8, 2001 January 14, 2002 Contributor, "Dollars and "Cents"".
William Stephenson April 20, 1999 August 27, 1999 Contributor, "What I'm Sayin".
Paul F. Tompkins August 6, 1998 December 3, 1998 Contributor, "Us People's Weekly Entertainment".
Larry Wilmore August 22, 2006 December 2, 2014 Senior Black Correspondent, "Wilmore-Oliver Investigates". Left to host The Nightly Show with Larry Wilmore. On August 6, 2015, Wilmore made a return appearance to say goodbye to Jon Stewart on his final episode.
Michelle Wolf April 7, 2016 November 15, 2017 Senior Women's Issues Correspondent
Bassem Youssef February 10, 2015 April 14, 2015 Senior Middle East Correspondent. The host of Al-Bernameg (The Program), a satirical news program broadcast in Egypt from 2011 to 2014. The press has compared Youssef with Stewart, who served as an inspiration for Youssef to begin his career.[4][5][6] On August 6, 2015, Youssef made a return appearance to say goodbye to Jon Stewart on his final episode.
Timeline chart[edit]
List of The Daily Show correspondents (3 years or more)
1990s 2000s 2010s
96 97 98 99 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18
Host: Craig Kilborn Host: Jon Stewart Host: Trevor Noah
Ronny Chieng
Desi Lydic
Roy Wood Jr.
Hasan Minhaj
Jordan Klepper
Jessica Williams
Al Madrigal
Aasif Mandvi
Jason Jones
Samantha Bee
John Oliver
Wyatt Cenac
Rob Riggle
Dan Bakkedahl
Rob Corddry
Ed Helms
Steve Carell
Stephen Colbert
Mo Rocca
Stacey Grenrock-Woods
Nancy Walls
Vance DeGeneres
Beth Littleford
A. Whitney Brown
Brian Unger
References[edit]
^ Jump up to: a b c "RONNY CHIENG, DESI LYDIC AND ROY WOOD JR. JOIN COMEDY..."
Jump up ^ Busis, Hillary (2014-09-12). "Remembering Michael Che's too-brief 'Daily Show' run". Entertainment Weekly. Retrieved 2014-09-12.
Jump up ^ Getlen, Larry (June 21, 2015). "Why Aasif Mandvi never wanted to fill Jon Stewart's shoes". New York Post.
Jump up ^ El-Wakil, Mai (21 April 2011). "Drawing inspiration from the revolution". Al Masry Al Youm. Retrieved 9 January 2014.
Jump up ^ Marx, Willem (29 March 2012). "Bassem Youssef: Egypt's Jon Stewart". Bloomberg Businessweek. Retrieved 9 January 2014.
Jump up ^ Hassan, Abdalla (28 April 2011). "Surgeon Using Parody to Dissect the News in Egypt". New York Times. Retrieved 9 January 2014.
External links[edit]
The Daily Show with Trevor Noah official website
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Fortnite
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Fortnight (disambiguation).
Fortnite
Developer(s)
Epic Games
People Can Fly
Publisher(s)
Epic Games
Director(s)
Darren Sugg[1]
Artist(s)
Pete Ellis[2]
Composer(s)
Rom Di Prisco[3]
Engine
Unreal Engine 4
Platform(s)
Microsoft Windows
macOS
PlayStation 4
Xbox One
Release
2018
Genre(s)
Survival
Mode(s)
Single-player, multiplayer
Fortnite is a co-op sandbox survival video game developed by Epic Games and People Can Fly, the former also publishing the game. The game was released as a paid early access title for Microsoft Windows, macOS, PlayStation 4 and Xbox One on July 25, 2017, with a full free-to-play release expected in 2018. It features cross-progression between the PlayStation 4 and PC versions.
Fortnite is set in contemporary Earth, where the sudden appearance of a worldwide storm causes 98% of the world's population to disappear, and zombie-like creatures rising to attack the remainder. Considered by Epic as a cross between Minecraft and Left 4 Dead, Fortnite has up to four players cooperating on various missions on randomly-generated maps to collect resources, build fortifications around defensive objectives that are meant to help fight the storm and protect survivors, and construct weapons and traps to engage in combat with waves of these creatures that attempt to destroy the objectives. Players gain rewards through these missions to improve their hero characters, support teams, and arsenal of weapon and trap schematics to be able to take on more difficult missions. The game is supported through microtransactions to purchase in-game currency that can be used towards these upgrades.
A standalone mode, Fortnite Battle Royale, based on the battle royale genre, was released for Windows, macOS, PlayStation 4, and Xbox One in September 2017.
Contents
[hide]
1 Synopsis
2 Gameplay
2.1 Save the World
2.2 Battle Royale
3 Development
3.1 History
3.2 Art and design
3.3 Battle Royale mode
4 Reception
4.1 Sales
4.2 Accolades
5 References
6 External links
Synopsis
One day, 98% of Earth's population suddenly disappeared, and the remaining population found the skies covered in dense clouds, creating chaotic storms that dropped husks, humanoid zombie-like creatures, that attacked the living. The survivors found ways to construct "storm shields", a field that cleared the storm clouds from immediately overhead and reduced the attacks from husks, and used these to set up survivor bases across the globe. The player is a commander of one of these bases, charged with going out of the storm shield to find resources, survivors, and other allies to help expand their storm shield and find a way to return Earth to its normal state.
Gameplay
Currently, Fortnite provides two distinct modes: a player-versus-environment "Save the World", and a player-versus-player "Battle Royale". The latter mode was added after Fortnite's initial early access launch,[4] and later offered as a separate free-to-play mode on September 26, 2017, that does not require the base game to play.[5]
Save the World
The "Save the World" mode is described as a co-op sandbox survival game and is about exploration, scavenging items, crafting weapons, building fortified structures, and fighting waves of encroaching monsters.[6] Tim Sweeney, Epic's founder, described the game as "Minecraft meets Left 4 Dead".[7] The game cycles between managing one's resources at a safe home base, and then going out on missions to complete quests as to collect resources and obtain rewards to advance the game's story.
In the meta-game, the player has an inventory of weapon and trap schematics, hero characters, defender characters, and support characters, along with collected resources. Schematics are used to construct weapons and traps when on the field. Hero characters represent characters from one of four classes that the player can use while on mission, as well as used to undertake resource-gathering missions making them unavailable to use until they return from the mission. Defender characters can be summoned to help with defense but only if there are less than four players on a mission. Support characters are used to form various non-playable squads that provide passive bonuses to the player's attack strength, building speed, armor, and health, with additional benefits if the player can match certain characterization attributes within a squad. The player can spend different types of experience points and resources earned as mission rewards, from loot boxes (represented as llama pinatas), or other sources to level up and evolve schematics and characters. For weapons and traps, this generally boosts their effectiveness as well as unlocking additional attribute bonuses, while leveling up hero characters will unlock special skills the character has while in the field. Schematics and characters are generally assigned a rarity, which determines how much they can be leveled and evolved. A player's inventory of schematics and characters is limited, but players can opt to slot any one they do not need into a collection book to gain rewards when certain collection sets are completed; use one or more of these schematics or characters to transform them into a new random item, or simply retire them to gain back experience points and other resources to free up the inventory slots.[8][9]
The player also can spend skill points, earned by completing missions, and technology points, earned over time, to unlock new skills and technologies in the game's skill and technologies trees. These can improve a player's base attributes, attributes that are shared with the other players while on missions, unlock higher levels of evolution for schematics and characters, open up new squad positions, or unlock general skills that players can use in the field. Collectively, the player's progress on these skill and technology trees, their squad composition, and their selected hero character make up the player's current "power level" which relates to what difficulty of missions the player should take and the game's matchmaking services. Also, players can review their current story progress and quests, which can include daily, side, and event quests, which when completed provide in-game currency or resources.
Mission are currently divided between four world locations, some available only after progressing far enough in the story, and special locations for timed events and for the Survive the Storm mode. Within a location are several possible mission areas that show the type of mission, the terrain it takes place on, its difficulty rating relative to the player's current power level, and whether the mission is currently under special "storm" conditions that throw random effects, like buffed husks or mini-bosses, into the mission but have potentially better rewards if completed. The player optionally can select a special site that automatically matches them with players at similar power level and story progression on a random mission for added rewards.
Most missions take place on procedurally-generated landscapes. Most missions are based on locating site(s) representing the objectives on the map, build up fortifications around those locations, and then face off against several waves of husks that will try to destroy the objectives. During completion of these missions, players are generally given a "storm forecast" to know where husks will spawn in as to enhance fortification in that direction, though this direction can change in more difficult missions. Other missions are time-limited, requiring the players to locate and help a number of survivors, build out several radar towers, or clear out various encampment of husks scattered around the map before time runs out. These missions encourage the players to explore the map and farm for resources (either by searching objects or destroying them with an axe) used to build the fortifications, weapons, ammunition, and traps needed to defend or attack the husks. Players also frequently need to seek out bluglo, a special resource that does not carry over between maps to activate certain mission objectives. Some missions are considered a loss if the objective is destroyed or time runs out, while other missions allow the players to rework their fortifications and start their defense again if the objective is destroyed. Maps will frequently have optional objectives that are discovered through exploration, such as human survivors that need help. Completing these successfully earn immediate in-game rewards such as resources, weapons, and traps. Missions themselves may provide bonus objectives, such as by completing the mission within a certain in-game period, using a limited number of fortification pieces, or saving more survivors than the minimum necessary, which affects the qualify of rewards the players receive after the successful completion of the main mission.
During missions, players can make their fortifications from one of three base materials (wood, brick, and metal), and in a number of configurations, including floors/ceilings, walls, stairs, and ramps; players have the ability to edit these for more configurations, such as adding a door or window to a wall. Each fortification part can be upgraded with more resources of the same type to improve their durability, and when they are damaged, can be repaired by spending additional resources. Traps, which have a limited number of activation before they fall apart, can be placed on floors, walls, and ceilings, and arranged in means to make them more lethal or effective against husks. Traps may also include beneficial resources for players, such as healing pads, defender posts, and launch pads. Similarly, players can use a range of weapons but these have limited durability that drops as they are used or as a penalty if the player should be downed by husks and need to respawn without help of allies. Players can construct new weapons, ammo, and traps from gathered resources, or find these from searching containers across the map. During missions, the game progresses through an accelerated day-night cycle; during the day, the husks are more passive and do not generally pose immediate threats, while during the night, bands of husks may spawn in and will aggressively seek out players.
One unique mission type are Storm Shield Defense missions. In each of the four world locations, the player is allocated a map that remains persistent, representing the site where their base's storm shield generator is placed, and in the storm mode, the player must return to this map to expand the storm shield, requiring them to add a new objective to defend successfully to continue the story. At any time, the player can enter this map without starting the defense mission, and use their carried-over resources to built out the fortification and traps, or add resources to a special storage area for this map.
Fortnite is also able to offer themed-events with a unique progression line, new locations, and rewards based on those themes. The first such event was its Halloween event, "Fortnitemares", that offered Halloween-themed heroes, characters, weapons and traps (usable outside of the event) by completing numerous objectives.[10]
Battle Royale
Fortnite's "Battle Royale" mode follows similar gameplay mechanics as other battle royale games, particularly PlayerUnknown's Battlegrounds. This mode supports up to 100 players, either individuals or up to four-man squads, attempting to be the last man or team standing as they hunt other players and avoid being killed themselves. Players all start with no equipment outside of a pickaxe for resource gathering, and parachute onto the map. Once they land, they can scavenge for weapons, armor, and resources, the latter which can be used to make structures in the same manner as the "Save the World" mode. Over time, a "storm" surrounds the area, and makes it so that the "safe" area of the map shrinks down in size. Once the "safe" area has shrunk to the smaller circle on the map (a thin, white circle), it will generate, at a random location, a smaller circle within. Those caught outside the area take damage and potentially die if they remain outside it too long. There are also random air drops of resources, weapons and items that may require players to construct floors and ramps to access, with varying randomized items determined by rarity. Players can use real money to purchase in-game currency, which can be used to purchase cosmetic items.[5]
During The Game Awards 2017 on December 7, 2017, Epic announced and released a time-limited 50-versus-50 mode for Battle Royale, the first of several planned game modes. In this, players are randomly assigned to one of two teams, and play until only members from one team remain, with all other Battle Royale mechanics otherwise in place. The mode encourages players on a team to work together to scavenge resources in anticipation of the smaller safe areas, and then to build up forts when the safe area is small enough, protecting their own fortifications while trying to damage the other teams' and finish off the remaining players.[11]
Development
History
Fortnite was first revealed at the 2011 Spike Video Game Awards (VGA), with Epic's former design director Cliff Bleszinski introducing a trailer for the game.[12] Donald Mustard, creative lead at Epic, said in 2017 that this announcement was "three weeks after we came up with the idea, before we even made the game".[13] The title, which started out as an internal game jam project,[14] represents a departure from the company's previous work.[12] As Bleszinski explained during the Spike event, Epic wanted to "switch things up a little bit and do something different and fun" with Fortnite, describing it as "a world where you explore, you scavenge, you build and ultimately you survive."[12] In an interview with Engadget, he also echoed these statements, claiming that the game would be different from the Gears of War series: "There's no dudebros in it...Not that there's anything wrong with that, right? But creatively for the team, Gears has been amazing for us. But it's fun to kind of stretch our wings and do something that's a little different from the usual."[15] Epic Games Vice President of Publishing Mike Fischer said in 2015 that Epic recognized that they "announced this game too soon", and that its lengthy development was due to "very good reasons".[16]
As the game was at its very preliminary stages at the VGA reveal, the goal of this reveal was to seek public interest in the title and potential publishing partners as to decide on the game's release platforms and timeframe.[17] During the July 2012 San Diego Comic Con, Epic announced that Fortnite would be an exclusive personal computer title, and the first one to be developed by Epic using their new Unreal 4 game engine, with a planned release in 2013.[18][19] The game's development was originally started in the Unreal 3 engine, but as they progressed, they had seen the opportunity to work in several of the new feature sets and scripting language offered by Unreal 4 for Fortnite, while still running on most personal computers at that time. They further opted for personal computer exclusivity to avoid the difficulty of having to go through console certification, and as they planned to be constantly monitoring and tweaking the game, acting as a dungeon master, the personal computer approach would allow them to do this without restrictions normally set by console manfuctures.[20] Bleszinski later clarified that they would not rule out release on other platforms as they developed the title.[21]
Fortnite cosplayers at Gamescom 2017
Fortnite's development was spread among several of Epic's satellite studios,[22] and was also co-developed by the Polish studio People Can Fly, which had worked with Epic previously on earlier games, and had been fully acquired by Epic sometime in 2012. People Can Fly were briefly renamed Epic Games Poland in 2013 as to align with Epic's other studios.[23][24] By March 2014, there were about 90 developers working on the game.[14] People Can Fly later returned to being an independent studio and their own name in 2015, but continued to help Epic with Fortnite's development.[25]
During Fortnite's development, Epic had seen the game industry shifting to games as a service model. To help with this transition, the company brought in Tencent who had several games operating under this model. As part of this agreement, Tencent bought a significant share of ownership in Epic Games through stock acquisition around June 2012. The shifting of Epic's approach through Tencent led to the departure of some high-level staff later that year, including Bleszinski.[26] Fortnite was seen as the spearhead for Epic's games-as-a-service model as they collaborated with Tencent. This caused some road bumps in the development of Fortnite, according to Mustard.[27] Fortnite's development was also slowed as it was used as the testing ground for the new features of the Unreal 4 engine.[27]
By November 2013, Epic confirmed that Fortnite would not release that year, nor offered a target released date, through affirmed the game was still in development by several of its studios.[28] Fortnite was a feature in the May 2014 issue of Game Informer, revealing that the title would be released as a free-to-play game.[29]
By 2014, Fortnite was at a "pretty functional prototype" with most of the Unreal 4 engine elements smoothed out, according to Mustard.[27] Epic anticipated it would still take about three more years to complete, not only in polishing and balancing the game, but setting in place the necessary backend elements for the games-as-a-service model.[27] To help support development and get player feedback, Epic used two closed alpha test periods. The game's first closed alpha, called Online Test 1, ran from December 2 to December 19, 2014, while Online Test 2 ran from March 24 to April 14, 2015.[30][31] Epic said the first alpha was designed to help it "make sure all of our basic systems are working" and establish "a baseline for how people play in order to make Fortnite better."[30] After being demoed at WWDC 2015 on Mac, Fortnite entered closed beta testing in the fall of 2015.[32] Approximately 50,000 players participated in these periods.[27]
Fortnite was being developed alongside Paragon, which Epic announced on November 2015. As Paragon seemed to take Epic's focus, leaving little news about Fortnite, CEO Tim Sweeney said in March 2016 that they were still committed to Fortnite once Paragon was launched and established, given that much of the work on Fortnite would take time to get the right balance for gameplay. "We figure we should start with one major successful launch and do one at a time. Fortnite will be next."[33]
By July 2017, Epic Games announced that Fortnite was now set for a 2018 release across Windows, macOS, and the PlayStation 4 and Xbox One consoles. Leading up to this free-to-play release, the game was offered as a paid early access period starting on July 25, 2017 for all platforms; those that purchases access would be given a "Founders" status in-game with additional perks that would extend into the free-to-play game.[34][35] The lengthy period since the game's alpha phases was ascribed to developing Fortnite as a games-as-a-service model, according to creative lead Donald Mustard. While the game was in a playable state for the two years prior, Epic wanted to be able to develop ongoing content to players to keep them interested in the title, such as planning timed events with unique rewards, following in the approach used by games like League of Legends and Warframe.[35] At the time of the start of early access, Epic announced that Gearbox Software will help distribute the game on physical media once it is released.[36]
Art and design
In their initial prototypes of the game, Epic had used more creepier and darker designs for the husks and other enemies. Bleszinski said that they found this to create an "exhaustive environment" that was too grim, and designed to take the design in a more cartoonish approach, while still remaining creepy, so that players would enjoy spending time in the game's world, nor try to compete with games like DayZ.[21] They used works from Pixar, Tim Burton, and Looney Tunes as inspiration for the designs.[21][37]
Fortnite uses procedural generation to build out the maps for each mission. The game also includes an "AI director" that monitors how players are progressing, and alters the challenges of the monsters it sends out to the players based on that progression, easing off if players are having greater difficulty in surviving.[38] At one point, the game had a team-based player versus player mode, where each side attempted to build up a base around a central target while trying to attack the opponent's target after breaking through their base. This did not make it into the final game.[38]
Epic currently has cross-platform play between PC and PS4 and has stated plans to allow separate Fortnite cross-platform support for Xbox One and personal computer users, but cross-platform play between all three platforms has not been announced. However, for a few hours during one day in September 2017, players found they could cross-play between all three platforms. Epic later corrected this, calling it a "configuration error".[39]
Battle Royale mode
In March 2017, PlayerUnknown's Battlegrounds was released on personal computers in early access, and quickly became a popular and successful game, becoming the defining example of the battle royale genre. According to Mustard, the Epic team "loved Battle Royale games like [Battlegrounds]", and explored how they could make a similar mode within Fortnite's engine. They kept this mode in a separate development team from the main player versus environment modes for experimentation and as to not throw off the balance in the main game.[40]
The Battle Royale mode for Fortnite was announced in early September 2017 for release to early access users on September 26, 2017. However, within a week, Epic changed plans and decided to offer this mode as a standalone free-to-play game for Windows, macOS, PlayStation 4, and Xbox One platforms to be released on September 26, 2017; those that had purchased early access to Fortnite in anticipation of this mode were offered refunds.[41] This release, which beat out Battlegrounds to consoles, caused some concern with Battlegrounds developer Bluehole, as they had been working closely with Epic for Unreal engine support in Battlegrounds, and were worried that Fortnite may be able to include planned features to their Battle royale mode before they could release those in Battlegrounds.[42][43][44]
Reception
Sales
On July 26, 2017, it was announced that Fortnite had sold over 500,000 digital pre-order copies.[1] On August 18, 2017, Epic confirmed that Fortnite has surpassed over one million players.[45] The game's free-to-play battle royale mode obtained over 10 million players two weeks after its release.[46]
Accolades
Eurogamer ranked the game 32nd on their list of the "Top 50 Games of 2017".[47]
Year
Award
Category
Result
Ref
2017 The Game Awards 2017 Best Multiplayer Nominated [48]
PC Gamer's 2017 Game of the Year Awards Best Co-op Game Nominated [49]
IGN Best of 2017 Awards Best Spectator Game Nominated [50]
2018 16th Visual Effects Society Awards Outstanding Visual Effects in a Real-Time Project (A Hard Day's Night) Pending [51]
21st Annual D.I.C.E. Awards Outstanding Achievement in Online Gameplay Pending [52]
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Jump up ^ Livingston, Christopher (September 23, 2017). "PUBG exec clarifies objection to Fortnite Battle Royale: 'it's not about the idea itself, it's about Epic Games'". PC Gamer. Retrieved September 23, 2017.
Jump up ^ Boyd, Jordan (August 19, 2017). "Fortnite Celebrates One Million Players; New Survival Mode Announced". Dualshockers. Retrieved August 19, 2017.
Jump up ^ Makuch, Eddie (October 12, 2017). "Fortnite: Battle Royale Has Hit 10 Million Players In Two Weeks". GameSpot. Retrieved October 16, 2017.
Jump up ^ Eurogamer staff (December 27, 2017). "Eurogamer's Top 50 Games of 2017: 40-31". Eurogamer. Retrieved December 30, 2017.
Jump up ^ Makuch, Eddie (December 8, 2017). "The Game Awards 2017 Winners Headlined By Zelda: Breath Of The Wild's Game Of The Year". GameSpot. Retrieved January 22, 2018.
Jump up ^ PC Gamer staff (December 8, 2017). "Games of the Year 2017: The nominees". PC Gamer. Retrieved January 22, 2018.
Jump up ^ "Best of 2017 Awards: Best Spectator Game". IGN. December 20, 2017. Retrieved January 22, 2018.
Jump up ^ Giardina, Carolyn (January 16, 2018). "Visual Effects Society Awards: 'Apes,' 'Blade Runner 2049' Lead Feature Nominees". The Hollywood Reporter. Retrieved January 22, 2018.
Jump up ^ Makuch, Eddie (January 14, 2018). "Game Of The Year Nominees Announced For DICE Awards". GameSpot. Retrieved January 17, 2018.
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