document_title: Fortnite Battle Royale

question_text: when is fortnite battle royal coming to android

text: Fortnite Battle Royale

text: Gameplay

text: The main gameplay for Fortnite Battle Royale follows the battle royale genre's standard format. The game nominally is played either with each player on their own, or in a squad of two to four players, with up to 100 players participating each round. The round starts with players, weaponless, skydiving from floating buses ("Battle Bus") then deploying a glider onto a region of land. The island's fixed layout includes several landmarks and locations (named in an alliterative fashion, such as "Loot Lake", "Tilted Towers", and "Retail Row") that are mostly ghost towns, while a random distribution of weapons, shields, and other combat support features can be found by searching buildings and other sites. The goal is to be the last player or team alive by eliminating or avoiding other players. Over time, the game's safe zone (representing the eye of a storm that is ravaging the world), decreases in size, and players caught outside the zone will take damage, potentially dying. This directs the surviving players into tighter spaces, forcing player encounters. Players can loot defeated enemies for equipment. Random supply drops will occur during a match, providing random weapons and items. Like in the original Fortnite game, Fortnite Battle Royale is primarily played in a third-person perspective, and there is no current way to change it.

text: Fortnite Battle Royale's primary distinction from other battle royale games is the building system, which originated from the original Fortnite survival game. Nearly all objects in the environment can be destroyed and harvested for materials (wood, stone, and metal), which can then be used to build fortifications of limited durabilities, such as walls, ramps, floors, and roofs, which can be used to help traverse the map, protect the player from gunfire, or slow down progression of other players.  Weaker pieces can be destroyed in a few hits, but can be built quickly, while stronger pieces can withstand more punishment, but take longer to build.

text: The game is free-to-play, supported by microtransactions that allow players to buy "Vinderbucks", "V-Bucks" for short, the game's internal currency. V-Bucks are also shared with the main Fortnite "Save the World" game, which offers players the opportunity to earn V-Bucks by completing missions or daily quests.[1] V-Bucks can then be used to buy cosmetic improvements to the player (character, pickaxe and glider skins, back-wear, and emotes). The game is run as seasons, lasting about 12 weeks each. Each season introduces a new set of cosmetic items that can be obtained, which otherwise are not available outside that season. These are offered through a dual-track battle pass, which present a number of tiers that a players climbs through by earning experience through completing in-game objectives and their general performance during matches, while acquiring cosmetic rewards or other items in the process. Each player has access to the "free" track of the Battle Pass, which offers fewer prizes that must be earned by clearing multiple tiers, while players can also purchase the Pass' "premium" track with V-Bucks (roughly costing US$10),[2] which offers more diverse challenges and grants prizes for every tier the player clears. Players can use V-Bucks to complete tiers as well once they have a Battle Pass.[3]

text: Since release, Epic Games has added more features, such as new weapons, vending machines, and small, makeshift vehicles, such as shopping carts and golf carts. Epic is also able to deploy hot-fixes to the game to adjust aspects like weapon attributes and distribution, pushing these out in minutes if necessary should they or players discover critical issues or glitches.[4][5]

text: Limited time and competitive modes

text: Epic has the ability to include limited time modes (LTM) within the game, which provides Epic with experimental capabilities and gain feedback from players to improve upon.[6] One of its earliest additions was a 50-v-50 mode, placing players randomly on one of two teams and dropping them on opposite sides of the map, giving the two teams time to gather resources, create fortifications, and hunt the other team before the storm moved in.[7] Shortly after the launch of the film Avengers: Infinity War, Epic ran a Marvel-sponsored event that featured the Infinity Gauntlet that randomly spawned on the map; any player that equipped it became Thanos with added abilities.[8] A sandbox Playground LTM was introduced in June 2018, which allows up to four players to explore and build anything anywhere on the battle map, while being able to fight each other and respawn upon defeat until the storm covered the map after an hour and eliminated them all; Epic later made this a permanent mode in the game.[9]

text: Epic has stated that they intend to add ranked competitive play in the future.[10] A preliminary competitive mode, Solo Showdown, ran for a limited time starting in May 2018, ranking players by their final placement in matches and rewarding the top-placing competitors with V-Bucks.[11]

text: Seasonal changes

text: Fortnite Battle Royale has created a larger loose narrative that is exhibited through changes in the game map, which generally correlated to the start and end of the in-game season. For example, in the lead up to the fourth season which started in May 2018, players saw a number of shooting stars cross the skies, followed by a giant comet that neared the ground; upon the start of season four, the comet had hit one of the locations on the map, leaving a giant crater, among other changes. This tied into several new cosmetic skins related to superheroes and super-villains that were available that month.[12] Epic has the ability to create custom events that occur across all game servers simultaneously as well; the first example of such was a countdown leading to a giant rocket's launch in June 2018 which, in the aftermath, left cracks in the skies that have grown since that event.[13]

text: The game initially launched without any seasonable schedule, but starting with the release of Season 2 in December 2017, Epic has provided new content, which includes new cosmetics, new gameplay elements, and changes to the game's map, on a roughly 10-week basis. This also introduced the use of the battle pass for players to obtain some of this new content by completing challenges and gaining experience.

text:
Season

Period

Description

Season 1

September 2017 – December 2017

Retroactively considered the first season upon the start of second.

Season 2

December 2017 – February 2018

Introduction of the battle pass. Medieval themed.

Season 3

February 2018 – April 2018

Space-themed.

Season 4

May 2018 – July 2018

Superhero/Movies-themed season. Leading up to the start of Season 4, players had observed shooting stars crossing the game's map during Season 3, which later became small meteorites that hit the ground and caused some damage. Across all games a large meteor also started to appear, on track to hit the game map to coincide with the start of Season 4, completely destroying one of the major landmarks.[14][15]

Season 5

July 2018 – September 2018

Time travel-themed season. Prior to this season, Epic established a one-time event across all games on June 30, 2018 that fired a rocket from a villainous lair which created interdimensional rifts on the map.[16] The rifts grew over the next few days, with some in-game objects disappearing and new objects from other time periods appearing.[17] As part of its marketing, Epic planted a real-world version of the "Durrr-Burger" restaurant sign in the California desert, with clues pointing to locations of real-world version of the game's loot llamas located around the world.[18] The season started with changes of the map due to these rifts, while the rifts remained as a gameplay element within the season, teleporting the player to a high elevation and to re-land elsewhere in the map.[19]

Season 6

September 2018 – present[20]

Darkness and corruption themed. Near the end of the fifth season, another one-time event occurred in which the rifts created by the rocket launch closed up, leaving a large purple cube with glyphs on its surface in the game world, which players nicknamed "Kevin". Kevin slowly moved on its own across the map, in certain spots leaving behind glyphs that created low-gravity playing areas. Kevin ended its journey by falling into Loot Lake, turning its water purple and making it a bouncy surface.[21][22][23] At the start of the sixth season, the skies above the map darkened and Kevin re-emerged from the lake, lifting Loot Lake's island and mansion high into the air and occasionally moving it to different places above the map.  The lake is then renamed "Leaky Lake", becoming a whirlpool that levitates anyone who approaches it.  Several other places on the map became "corrupted" where players could find Shadow Stones which makes them temporarily invisible, able to move faster, and pass through objects, but unable to use weapons.[24] Through the course of the season, the floating island moved across the map to the spots where Kevin had left the glyphs, pulling up a small part of the land as a miniature floating island in its wake.[25]  Eventually, the glyphs of seven floating islands were activated, destroying the mansion and the island that Kevin was levitating and scattering the remains across the map, which then became portals that heralded the arrival of transdimensional alien creatures named "Cube Monsters". The Monsters become a new side threat to all players, similar to the Zombies in Call of Duty: Black Ops 4's Blackout mode, and can easily be slain with special weapons for loot.[26]

text: Development

text: Fortnite had first been revealed by Epic Games in 2011, considered to be a combination of Minecraft and Left 4 Dead as four players would work together to scavenge resources to built fortifications, traps, weapons, and other objects to survive monster attacks.[27][28] The game ended up with a protracted development period, in part due to both external pressures, with the industry transitioning to a games as a service model, and internal shifts of focus within Epic (including focusing attention on their first free-to-play title Paragon) to meet the external challenges. During this period, Epic made a deal with Tencent, giving them about 40% of the company in exchange for their support for the games as a service approach as well as ready access to the Chinese video game market.[29] Fortnite was confirmed to have a planned 2018 release in June 2017, with a paid early access period starting a month later; the game is planned otherwise as a free-to-play title supported by microtransactions. With release in early access, the game featured its primary gameplay mode, "Save the World", where players in teams up to four would work cooperatively to survive and complete objectives on randomly generated maps.[30][31]

text: During the latter part of Fortnite's development, PlayerUnknown's Battlegrounds was released in March 2017 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.[32] The Battle Royale mode development was led by Eric Williamson with Zack Estep as production lead. Their goal was to develop the Battle Royale mode quickly from the core "Save the World" mode, putting off any complex features that weren't already in place as to launch the new mode as soon as possible; while they explored such potential ideas, they held off inclusion until after the main mode was launched.[6] The development of the Battle Royale mode took about two months starting in July 2017 after the "Save the World" mode had shipped, and was aided by the Unreal Tournament team.[4][33] Key differences for Battle Royale that differed from "Save the World" included a more limited progression for weapons, a small subset of traps, and a smoother, more natural terrain for the maps.[6] They also wanted to aim for games not taking longer than 25 minutes, which led to some decisions of which elements from "Save the World" would not carry over.[6] They had including Fortnite's building mechanic for fortifications, not sure how players would use that since the safe zone would continue shrinking, but found quickly that the mechanic helped to distinguish the game from Battlegrounds and was used by expert players frequently to win matches, and had since implemented more features to help players with rapidly constructing temporary bases.[6]

text: In those two months of development, Epic's plan was to include Battle Royale within the paid Fortnite game, and originally announced this approach publicly in early September 2017. Only two weeks before it was released did Epic decide to make it a separate free-to-play title, fearing that having it as part of the paid package would slow down the growth of the title.[33] Epic announced this change formally about a week after first announcing Battle Royale, allowing those that had purchased early access to Fortnite in anticipation of this mode to request refunds.[34] 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 might be able to include planned features to their Battle Royale mode before they could release those in Battlegrounds.[35][36][37]

text: With the popularity of Fortnite Battle Royale by the start of 2018, Epic split off a separate development team to focus on improvements for this mode.[38] Epic said that their attention to Fortnite was causing some of their other games to see lower player populations, leading them to reduce development efforts on these games, particularly Paragon.[39] By the end of January 2018, Epic announced it was shutting down Paragon by April of that year, providing refunds to all players.[40] Players on a Fortnite-dedicated Reddit forum had expressed concerns that a similar fate could befall the Save the World mode of Fortnite, as externally, the Save the World mode has not received the same attention in providing updates and improvements compared to the Battle Royale mode since that mode's release.[41]

text: Localization

text: Tencent, who is a partial owner of Epic Games, will bring Fortnite Battle Royale to China; the company is already involved in bringing and supporting Battlegrounds in China as well. Tencent plans to spend up to US$15 million to help promote the game in China, set up eSports tournaments, and fight against copyright infringement and clones of Fortnite that have appeared in the country.[42] Epic is also working with Neowiz Games to bring a version of Fortnite to Korean PC bangs by the second quarter of 2018.[43]

text: Ports

text: A release of Fortnite for the Nintendo Switch video game console had been rumored in the week prior to the Electronic Entertainment Expo 2018 in June 2018. During the Nintendo Direct presentation, Nintendo and Epic Games announced the release of Fortnite Battle Royale for the Nintendo Switch, supporting cross-platform play with any other platform except the PlayStation 4; such users are able to carry over their inventory, Battle Pass status, and in-game currency between these platforms through their Epic user account. The game was released on June 12, 2018, the same day as the announcement. It is the first game to support direct voice chat through the Switch console.[44]

text: In March 2018, Epic announced it was making Fortnite Battle Royale for Android and iOS mobile devices.[45] The iOS version was released first, and was expected to be followed by the Android version by mid-2018.[46] The beta version for iOS devices launched on March 15, 2018,[47] and opened to all players on April 2, 2018.[48] Epic Games stated that it was not possible to release the Android version with the iOS version simultaneously, and declined to provide a concrete release date for it, because the developers wanted to spend a few months making sure that the game will be compatible with as many Android devices as possible, a task that is not easily accomplished due to the high variety of Android hardware.[49]

text: The Android beta version of Fortnite was released on August 9, 2018 with a time-exclusivity for selected Samsung mobile devices until August 12, 2018.[50][51] On August 13, 2018, Epic began sending invites for the Android version to registered users for non-Samsung devices,[52] and by October 11, 2018, the Android client was made available to all without an invite.[53] Epic distributed the Android Fortnite Battle Royale app directly from its website rather than through the Google Play Store, citing that they want to have a direct connection to the players of the game, and they believe that the 30% fee Google takes from all microtransactions from apps through the Play Store was disproportionate to the types of services the store provides.[54] Security experts expressed concern over this decision, since this requires users to modify security settings in default Android distributions to allow third-party sites to install Android application packages (APK). This setting can make users, particularly younger players, prone to potential malware, including clones of Fortnite that install malicious programming.[55] About a month after the Android release, there were at least 32 clones of the Fortnite installer on the Google Store, with half found to include malware.[56] Epic's installer for Android does include a warning message following the install that users should re-enable security controls and warns users of only downloading content from trusted sources.[57] The initial installer was found by Google to have a potential vector that would allow for malware to be installed, though this was patched within 48 hours of discovery and Epic did not believe anyone used the vector.[58]

text: The iOS version of Fortnite Battle Royale alone brought in an estimated US$1 million in microtransaction revenue within the first three days of in-app purchases being available, according to analysis firm Sensor Tower. Glixel considered these numbers impressive, compared to the early success rate of other popular mobile games, such as Pokémon Go and Clash Royale which earned US$4.9 million and US$4.6 million in their first four days, respectively.[59] Sensor Tower further estimated that after one month, the mobile title had earned more than US$25 million in revenue, surpassing revenues from any other mobile games and other several top-grossing apps during the same period.[60][61]

text: Cross-platform play

text: For the first five seasons, all ports of Fortnite Battle Royale support cross-platform play with other versions, but with limited interaction in regards to the PlayStation 4. That is, players on personal computer and mobile versions can cross-play with Xbox One and Nintendo Switch users, or alternatively they can cross-play with PlayStation 4 users.[45][62] While Epic Games has expressed interest in having full cross-platform play across all available platforms, Sony's continued refusal to allow cross-play between the PlayStation 4 and other consoles rendered this impossible during the game's first year of operation, according to Microsoft.[45] Further, while players can use a single Epic Games account to share progress in Fortnite: Battle Royale on all other platforms, those who used their PlayStation Network credentials to establish their Epic account cannot use that account on other platforms.[63][64] The account restriction was confirmed to be as a result of Sony's initial decision to prohibit cross-platform play between its PlayStation 4 and other consoles, rather than a choice Epic had made.[63][65]

text: By September 2018, Sony had made a decision to allow cross-platform play for the PlayStation 4 for "select third-party titles", starting with Fortnite. A beta version of the PlayStation 4 client supporting this was released for the game on September 26, 2018, the same day as Sony's announcement.[66] A means to merge multiple Epic accounts as well as unlinking console accounts from an Epic account to attach to another are planned for release in November 2018.[67]

text: Solo mobile players, or squads entirely consisting of mobile players will play solely with other mobile players by default for fairness; players however can use cross-platform play to join squads on other platforms, and matchmaking will consider all available matches.[68]

text: Promotion and marketing

text: In May 2018, Epic announced a partnership with sports apparel manufacturing company IMG to produce official Fortnite-themed clothing.[69] A Hasbro-licensed Fortnite Battle Royale-themed version of Monopoly was announced for release by late 2018; the Fortnite Monopoly game reflects some elements of the video game, such as the money being replaced with player's lives, and the ability to protect properties on the board with walls.[70] Further, with this deal, Hasbro will produce Fortnite-based Nerf blasters, which are expected to reach retail in 2019.[71] Funko will release a series of Fortnite themed Pop! figurines by late 2018.[72]

text: Fortnite Battle Royale has been packaged as special bundles with both the Xbox One and Nintendo Switch, each version providing redeemable codes for V-bucks and platform-unique customization options.[73][74] A retail release of Fortnite Battle Royale, called Fortnite: Deep Freeze Bundle, will be distributed by Warner Bros. Interactive Entertainment for the PlayStation 4, Xbox One, and Nintendo Switch by late 2018. The package will include redeemable codes for V-Bucks and unique in-game cosmetics.[75]

text: Professional competition

text: One of the first professional eSports competitions using Fortnite was the Fortnite Pro-Am event, held on June 12, 2018 during the Electronic Entertainment Expo 2018, with 3000 in attendance.[2] This tournament was announced after the success of the March 2018 stream by Tyler "Ninja" Blevins where he played alongside celebrities like Drake. The event featuring 50 celebrities paired with 50 top streaming players competing for prize pool of US$3 million to be given to winning teams' charities.[76] Ninja and his celebrity teammate Marshmello were the winners of this event.[77]

text: In May 2018, Epic announced it was setting aside US$100 million to fund various tournaments throughout the year to help grow Fornite Battle Royale into a eSport.[78] During the Fortnite Pro-Am at E3 2018, Epic announced it was setting up a 2019 Fortnite World Cup event, featuring separate series for solo players and two-player teams. All players, regardless of skill, would have an opportunity to try to gain placement in the World Cup event.[79]

text: During mid-2018, Epic started running a Summer Skirmish series over 8 weeks, each week having a different format, with US$8 million to be offered to winners throughout the series. The series had some initial problems; the first week event was cut short due to technical issues with game servers, while the second event ended with accusations of cheating towards the winner which Epic later verified were not true.[80] Epic launched its second competition play series, the Fall Skirmish, on September 21, 2018, with up to US$10 million in prizes for winners.[81]

text: Reception

text: ReceptionReview scoresPublicationScoreGameSpot8/10[82]IGN9.6/10[83]

text: Player count and revenue

text: Fortnite Battle Royale has become its own phenomenon, compared by analysts to the success in drawing in players that are not average video game players as both World of Warcraft and Minecraft had done previously.[84] Fortnite Battle Royale obtained over 10 million players two weeks after its release.[85] By March 2018, it was estimated to have more than 45 million players.[86] Three months later, in June 2018, Epic announced they had achieved over 125 million players in less than a year, with at least 40 million players playing the game once per month.[87] Within a day of becoming available, the Nintendo Switch version had been downloaded over 2 million times, according to Nintendo.[88] Epic said that Fortnite had been downloaded over 15 million times for Android within three weeks of its launch.[89] On the release of Season 5 in July 2018, Akamai Technologies reported that Fortnite traffic neared 37 terabytes per second, the largest recorded amount of traffic for any video game that they have observed.[90]

text: Analysis firm SuperData estimated that Fortnite Battle Royale made over US$126 million in February 2018, surpassing Battlegrounds's revenues for the same period of US$103 million.[91] SuperData estimated Fortnite's revenues over all platforms to exceed US$223 million for the month of March.[92] By April 2018, SuperData estimated that Fortnite Battle Royale had surpassed both sales and player count on all platforms over Battlegrounds.[93]  The game generated US$296 million in revenue in April, followed by US$318 million in May, according to SuperData.[94][95] By July 2018, Fortnite Battle Royale had been estimated to have brought in over US$1 billion in revenue.[96][2] Prior to the Season 5 start in July 2018, Sensor Tower estimated that the mobile version of Fortnite Battle Royale made over US$1.2 million daily; following the launch of Season 5, revenues jumped to US$2 million per day.[97]

text: At the time of Tencent's investment into Epic in 2012, Epic Games had a US$825 million valuation.[98] Because of Fortnite Battle Royale, Epic's valuation increased to US$4.5 billion as of May 2018.[99] Bloomberg raised the estimate to around US$8.5 billion by the end of 2018 should Fortnite Battle Royale reach US$2 billion during the year.[98] Partially due to the influx of revenue from Fortnite Battle Royale, Epic reduced its portion of sales it collected from the Unreal Engine Marketplace from 30% to 12% in July 2018, applying that retroactively to past sales.[100]

text: Impact

text: Journalists attributed Fortnite Battle Royale's success over PlayerUnknown Battlegrounds as a combination of several factors: besides being free-to-play and available on consoles, the game was released at a time when Battlegrounds was struggling with game cheaters and a toxic community, and that it features a less violent, cartoonish quality to it that, like Minecraft, was able to draw in a younger and mixed-gendered audiences to play.[101][102] Further, Epic has maintained frequent updates for the game, adding new weapons and in-game tools alongside limited-time events and longer-term narrative elements that help to further draw in players.[103] The high interest in the game within March 2018, which has been able to draw larger audiences compared to existing multiplayer games like Grand Theft Auto Online and Destiny 2, has had a financial impact on competing publishers Take-Two Interactive and Activision Blizzard, their stocks having fallen during this period, according to analysts from Morgan Stanley and KeyBanc Capital Markets Inc.[86][99] Activision's CEO Bobby Kotick, on their quarterly results released May 2018, stated that "Fortnite is definitely a lot of competition right now...it’s been a really important catalyst in attracting new gamers to gaming",[104] and the company is looking to develop its own battle royale title.[105] Electronic Arts CEO Blake Jorgensen also considered both Fortnite Battle Royale and Battlegrounds as having a significant market impact. Jorgensen said " [Fortnite is] bringing younger people into the marketplace and younger people into first-person shooters, and I think that's good for the long run health of that category for all of us in the industry".[106]

text: Part of the game's success is also considered to be related to its impact on social media.[84] By March 2018, Fortnite: Battle Royale became the most-viewed game on Twitch, exceeding the average-concurrent viewership numbers of League of Legends and Battlegrounds.[107] One notable streamer was Tyler "Ninja" Blevins, who gained a large number of subscribers by March 2018, in part due to his skill and through promotions on Twitch that offered free Fortnite Battle Royale cosmetic items; by March 2018, he was estimated to be making US$500,000 a month from his streaming revenue.[108] YouTube streamer Rubén Doblas Gundersen held a Fortnite Battle Royale match with 99 other well-known YouTube streamers in late March, which drew over 1.1 million viewers, making it one of the most-watched gaming YouTube streams.[109] The Fortnite Pro-Am event held at E3 2018 was estimated to have drawn over 1.3 million views across Twitch and other streaming services, making it one of the highest-viewed live-streamed event to date.[110]

text: A number of celebrities and athletes have said they play Fortnite: Battle Royale, such as Chance the Rapper, Joe Jonas, Finn Wolfhard, Roseanne Barr, and Norm Macdonald.[111] For athletes, their appreciation for the game has taken on the form of recreating the various emotes in game as part of their on-field celebration dances.[112] Such Fortnite celebrations were frequently throughout the 2018 FIFA World Cup event in June and July 2018,[113] including by Antoine Griezmann after a scoring penalty kick during the final.[114] In March 2018, Tyler Blevins hosted a stream that included Drake, Travis Scott, Kim DotCom, and Pittsburgh Steelers wide receiver JuJu Smith-Schuster all playing the game. The stream broke over 635,000 concurrent viewers, making it the highest-watched stream on Twitch outside of eSports tournaments.[115][116] Other notable people have expressed their fondness for the game; the Russo brothers, directors of Avengers: Infinity War, stated that they often played Fortnite Battle Royale during breaks on the film's development, leading them to propose the idea of the Thanos LTM for the game.[8] The awareness of the game from well-known celebrities has been considered a reason for further popularity and player growth of the game.[117]

text: Fortnite Battle Royale has been jokingly referred to as the honomyn "Fork Knife" on social media, believed to have originated with people, unfamiliar with the game, described their friends and family spending time playing the game.[118] Epic added a harvestable, non-playable "Fork Knife" food truck to the game map as the term gained popularity.[2] In September 2018, Fortnite was featured as a question on the game show Jeopardy!,[119] and was spoofed in a skit on the September 29, 2018, episode of Saturday Night Live.[120]

text: With the release of the mobile version, teachers, parents, and students have found that the game had become popular to younger players due to the free-to-play nature, its cartoonish art style, and its social nature.[121] This carries over into schools, which has been seen as a disruptive element within the classroom.[122][123][124] Epic has since added warnings on the game's loading screens to discourage students from playing it during classes.[125] The UK's Secretary of State for Digital, Culture, Media and Sport, Matt Hancock, expressed concern at how much time children were playing Fortnite Battle Royale and similar video games without a balance of physical exercise and social interactions.[126] Other agencies, including the United States' Center on Media and Child Health and the United Kingdom's National Society for the Prevention of Cruelty to Children have cautioned parents that children may be influenced by the violent behavior due to Fortnite Battle Royale.[127][128] At the same time, parents have expressed appreciation for Fortnite to have their children engage socially outside of their core groups of friends in a game that is otherwise not excessively violent,[129] or see offering Fortnite as a reward for encouraging children to do well in school, offering their children the purchase of V-bucks in exchange for good grades.[130] Some parents see potential in their children becoming skilled in Fortnite as to become professional players and compete for part of the large prize pools, creating a market for tutors to help children improve their skills in the game.[131]

text: Lawsuits

text: In January 2018, Bluehole's PUBG Corp., the South Korean company behind PlayerUnknown's Battlegrounds (PUBG), filed a lawsuit against Epic Games, claiming that Fortnite Battle Royale was a copyright infringement of Battlegrounds; they accused Epic Games of copying PUBG's user interface and game items.[132][133] According to Korea Times, market observers predicted that there would be little likelihood of Bluehole winning the case, as it would be difficult to establish the originality of PUBG in court due to the battle royale game genre, which includes both PUBG and Fortnite Battle Royale, being derived from the 2000 Japanese film Battle Royale.[134] The case has since closed, with PUBG Corp. dropping the lawsuit in June 2018 under undisclosed reasons.[135]

text: In May 2018, Epic Games filed a lawsuit against quality assurance tester Thomas Hannah after he leaked information regarding Season 4. Hannah, who had joined Epic in December 2017, breached the non-disclosure agreement by sharing details of the Season with Adam DiMarco. DiMarco later shared information in a Reddit post, spoiling the theme of the Season.[136] Epic stated that Hannah "diminished the enjoyment of the people who play, or who watch others play, Fortnite by ruining the suspense that had been building in the Fortnite community in anticipation of upcoming season".[137]

text: Cheats and mods

text: In October 2017, Epic Games filed civil complaints against two associates of the website Addicted Cheats, which for a payment provided cheating services to players. The company argued that the two defendants made and used altered game breaking code that was against the End User License Agreement and the Copyright Act.[138]

text: In October 2018, Epic Games sued YouTuber Brandon Lucas, who posts videos on the channel, Golden Modz. The lawsuit details that Lucas, cheats at the game and "...promotes, advertises and sells software that enables those who use it to cheat."[139] The lawsuit also names Lucas's secondary website in which visitors are encouraged to purchase the hack and/or Fortnite user accounts preloaded with hacks.[140]


document_title: Parallel key

question_text: what type of keys have the same tonic but different key signatures

root

text: Parallel key

text: In music, a major scale and a minor scale that have the same tonic are called parallel keys and are said to be in a parallel relationship.[1][2] The parallel minor or tonic minor of a particular major key is the minor key based on the same tonic; similarly the parallel major has the same tonic as the minor key (from the Greek, para alleilos, "beside each other"). For example, G major and G minor have different modes but both have the same tonic, G; so we say that G minor is the parallel minor of G major. In contrast, a major scale and a minor scale that have the same key signature (and therefore different tonics) are called relative keys.

tag: p

text: A major scale can be transformed to its parallel minor by flattening the third, sixth, and seventh scale degrees, and a minor scale can be transformed to its parallel major by sharpening those same scale degrees.

text: In the early nineteenth century, composers began to experiment with freely borrowing chords from the parallel key.

text: To the Western ear, the switch from a major key to its parallel minor sounds like a fairly simplistic saddening of the mood (while the opposite sounds like a brightening). This change is quite distinct from a switch to the relative minor. Classical pieces in sonata allegro form in a minor key have their second theme in the relative major in the exposition, but the second theme comes back in the original minor key in the recapitulation. This is unique to the form, and allows the composer to state a given theme in both major and minor modes. Later it also became common to state the second theme in the tonic major in the recapitulation, with or without a later return to the minor.

text: In rock and popular music, examples of songs that emphasize parallel keys include Grass Roots' "Temptation Eyes", "Every Little Thing She Does Is Magic", Lipps Inc's "Funkytown", The Beatles "Norwegian Wood," and Dusty Springfield's You Don't Have To Say You Love Me.[3]


document_title: Chromosome segregation

question_text: when does segregation and independent assortment happen during meiosis

text: Chromosome segregation

text: Mitotic chromatid segregation[edit]

text: During mitosis chromosome segregation occurs routinely as a step in cell division (see mitosis diagram). As indicated in the mitosis diagram, mitosis is preceded by a round of DNA replication, so that each chromosome forms two copies called chromatids. These chromatids separate to opposite poles, a process facilitated by a protein complex referred to as cohesin. Upon proper segregation, a complete set of chromatids ends up in each of two nuclei, and when cell division is completed, each DNA copy previously referred to as a chromatid is now called a chromosome.

text: Meiotic chromosome and chromatid segregation[edit]

text: Chromosome segregation occurs at two separate stages during meiosis called prophase I and prophase II (see meiosis diagram). In a diploid cell there are two sets of homologous chromosomes of different parental origin (e.g. a paternal and a maternal set). During the phase of meiosis labeled “interphase s” in the meiosis diagram there is a round of DNA replication, so that each of the chromosomes initially present is now composed of two copies called chromatids. These chromosomes (paired chromatids) then pair with the homologous chromosome (also paired chromatids) present in the same nucleus (see prophase I in the meiosis diagram). The process of alignment of paired homologous chromosomes is called synapsis (see Synapsis). During synapsis, genetic recombination usually occurs. Some of the recombination events occur by crossing over (involving physical exchange between two chromatids), but most recombination events involve information exchange but not physical exchange between two chromatids (see Synthesis-dependent strand annealing (SDSA)). Following recombination, chromosome segregation occurs as indicated by the stages metaphase I and anaphase I in the meiosis diagram.

text: Different pairs of chromosomes segregate independently of each other, a process termed “independent assortment of non-homologous chromosomes”. This process results in each gamete usually containing a mixture of chromosomes from both original parents.

text: Improper chromosome segregation can result in aneuploid gametes having either too few or too many chromosomes.

text: The second stage at which segregation occurs during meiosis is prophase II (see meiosis diagram). During this stage, segregation occurs by a process similar to that during mitosis, except that in this case prophase II is not preceded by a round of DNA replication. Thus the two chromatids comprising each chromosome separate into different nuclei, so that each nucleus gets a single set of chromatids (now called chromosomes) and each nucleus becomes included in a haploid gamete (see stages following prophase II in the meiosis diagram). This segregation process is also facilitated by cohesin. Failure of proper segregation during prophase II can also lead to aneuploid gametes. Aneuploid gametes can undergo fertilization to form aneuploid zygotes and hence to serious adverse consequences for progeny.

text: Crossovers facilitate segregation, but are not essential[edit]

text: Meiotic chromosomal crossover (CO) recombination facilitates the proper segregation of homologous chromosomes. This is because, at the end of meiotic prophase I, CO recombination provides a physical link that holds homologous chromosome pairs together. These linkages are established by chiasmata, which are the cytological manifestations of CO recombination. Together with cohesion linkage between sister chromatids, CO recombination may help ensure the orderly segregation of the paired homologous chromosomes to opposite poles. In support of this, a study of aneuploidy in single spermatozoa by whole genome sequencing found that, on average, human sperm cells with aneuploid autosomes exhibit significantly fewer crossovers than normal cells.[1] After the first chromosome segregation in meiosis I is complete, there is further chromosome segregation during the second equational division of meiosis II. Both proper initial segregation of chromosomes in prophase I and the next chromosome segregation during equational division in meiosis II are required to generate gametes with the correct number of chromosomes.

text: CO recombinants are produced by a process involving the formation and resolution of Holliday junction intermediates. As indicated in the figure titled "A current model of meiotic recombination", the formation of meiotic crossovers can be initiated by a double-strand break (DSB). The introduction of DSBs in DNA often employs the topoisomerase-like protein SPO11.[2] CO recombination may also be initiated by external sources of DNA damage such as X-irradiation,[3] or internal sources.[4][5]

text: There is evidence that CO recombination facilitates meiotic chromosome segregation.[1] Other studies, however, indicate that chiasma, while supportive, are not essential to meiotic chromosome segregation. The budding yeast Saccharomyces cerevisiae is a model organism used for studying meiotic recombination. Mutants of S. cerevisiae defective in CO recombination at the level of Holliday junction resolution were found to efficiently undergo proper chromosome segregation. The pathway that produces the majority of COs in S. cerevisiae, and possibly in mammals, involves a complex of proteins including the MLH1-MLH3 heterodimer (called MutL gamma).[6] MLH1-MLH3 binds preferentially to Holliday junctions.[7] It is an endonuclease that makes single-strand breaks in supercoiled double-stranded DNA,[7][8] and promotes the formation of CO recombinants.[9] Double mutants deleted for both MLH3 (major pathway) and MMS4 (which is necessary for a minor Holliday junction resolution pathway) showed dramatically reduced crossing over compared to wild-type (6- to 17-fold reduction); however spore viability was reasonably high (62%) and chromosomal disjunction appeared mostly functional.[9]

text: The MSH4 and MSH5 proteins form a hetero-oligomeric structure (heterodimer) in S. cerevisiae and humans.[10][11][12] In S. cerevisiae, MSH4 and MSH5 act specifically to facilitate crossovers between homologous chromosomes during meiosis.[10] The MSH4/MSH5 complex binds and stabilizes double Holliday junctions and promotes their resolution into crossover products. An MSH4 hypomorphic (partially functional) mutant of S. cerevisiae showed a 30% genome-wide reduction in crossover numbers, and a large number of meioses with non-exchange chromosomes.[13] Nevertheless, this mutant gave rise to spore viability patterns suggesting that segregation of non-exchange chromosomes occurred efficiently.[13] Thus it appears that CO recombination facilitates proper chromosome segregation during meiosis in S. cerevisiae, but it is not essential.

text: The fission yeast Schizosaccharomyces pombe has the ability to segregate homologous chromosomes in the absence of meiotic recombination (achiasmate segregation).[14] This ability depends on the microtubule motor dynein that regulates the movement of chromosomes to the poles of the meiotic spindle.


document_title: London Evening Standard

question_text: when does the evening standard go to print

text: London Evening Standard

text: History[edit]

text: From 1827 to 2009[edit]

text: The newspaper was founded by barrister Stanley Lees Giffard on 21 May 1827, as the Standard.[4] The early owner of the paper was Charles Baldwin. Under the ownership of James Johnstone, The Standard became a morning paper from 29 June 1857. The Evening Standard was published from 11 June 1859. The Standard gained eminence for its detailed foreign news, notably its reporting of events of the American Civil War (1861–1865), the Austro-Prussian War of 1866, and the Franco-Prussian War of 1870, all contributing to a rise in circulation.[5] By the end of the 19th century, the evening edition eclipsed its morning counterpart.

text: Both The Standard and the Evening Standard were acquired by C. Arthur Pearson in 1904.[6] In May 1915, Edward Hulton purchased the Evening Standard from Davison Dalziel.[7] Dalziel had purchased both papers in 1910,[8] and closed The Standard, the morning paper, in 1916.[6] Hulton introduced the gossip column Londoner's Diary, originally billed as "a column written by gentlemen for gentlemen".

text: In 1923, Lord Beaverbrook, owner of the Daily Express, bought Hulton's newspapers, although he sold them shortly thereafter to the Daily Mail's owner Lord Rothermere, with the exception of the Standard. It became a staunchly Conservative paper, harshly attacking Labour in 1945 in a high-profile campaign that backfired. In the 1960s, the paper was upstaged by The Evening News, which sold over 1 million copies nightly. During the decade, the paper also began to publish the comic strip Modesty Blaise that bolstered the paper's sales throughout the 1970s.

text: In 1980, Express Newspapers merged the Standard with Associated Newspapers' Evening News in a Joint Operating Agreement. The new paper was known as the Newstandard until 1985, when Associated Newspapers bought out the remaining stake, turning it into The Standard. In 1987 the Evening News was briefly revived to compete with Robert Maxwell's London Daily News, but was reabsorbed into The Standard later that year, after the collapse of Maxwell's paper. In 1988 the Evening Standard included the by-line "Incorporating the 'Evening News'", which remained until the paper's sale in 2009.

text: Lebedev takeover[edit]

text: On 21 January 2009, the Russian businessman and former KGB agent Alexander Lebedev and his son Evgeny Lebedev, owners of The Independent, agreed to purchase control of the newspaper at £1 for 64 percent ownership.[9][10] A few years earlier, 12 percent of the paper was sold to Justin Shaw and Geordie Greig. Associated News keeps the remaining 24 percent.

text: In November 2009, it was announced that the London Evening Standard would drop its midday "News Extra" edition from 4 January 2010 with the first edition being the West End Final, available from 2 pm.[11] One edition of 600,000 copies would be printed starting at 12:30 pm, ending 3 am starts for journalists and the previous deadline of 9 am for the first edition; twenty people were expected to lose their jobs as a result.[11]

text: Previously there were three editions each weekday, excluding Bank holidays. The first, "News Extra", went to print at 10:00 am and was available around 11 am in central London,[citation needed] slightly later in more outlying areas (such as Kent). A second edition, "West End Final", went to print at 3 pm, and the "Late Night Final" went to print at 5 pm and was available in the central area from about 6 pm[citation needed] There was often considerable variation between the editions, particularly with the front page lead and following few pages, including the Londoner's Diary, though features and reviews stayed the same. The page changes were indicated by stars in the bottom left-hand corner of each page: two stars for the second edition, three stars for the third.[citation needed] In January 2010, circulation was increased to 900,000.

text: May 2009 relaunch[edit]

text: In May 2009, the newspaper launched a series of poster ads, each of which prominently featured the word "Sorry" in the paper's then-masthead font. These ads offered various apologies for past editorial approaches, such as "Sorry for losing touch".[12] None of the posters mentioned the Evening Standard by name, although they featured the paper's Eros logo. Ex-editor Veronica Wadley criticised the "Pravda-style" campaign saying it humiliated the paper's staff and insulted its readers.[13] The campaign was designed by McCann Erickson. Also in May 2009 the paper relaunched as the London Evening Standard with a new layout and masthead, marking the occasion by giving away 650,000 free copies on the day,[14] and refreshed its sports coverage.[15]

text: October 2009: freesheet[edit]

text: After a long history of paid circulation, on 12 October 2009 the Standard became a free newspaper,[3][16] with free circulation of 700,000, limited to central London. In February 2010, a paid-for circulation version became available in suburban areas of London for 20p (although many places sell it for 50p).[17][18] The newspaper won the Media Brand of the Year and the Grand Prix Gold awards at the Media Week awards in October 2010.[19] The judges said, "[the Standard has] quite simply ... stunned the market. Not just for the act of going free, but because editorial quality has been maintained, circulation has almost trebled and advertisers have responded favourably. Here is a media brand restored to health."[19] The Standard also won the daily newspaper of the year award at the London Press Club Press Awards in May 2011.[20]

text: Editorial style[edit]

text: The newspaper's editor is the former Chancellor of the Exchequer, George Osborne, who replaced Sarah Sands. Ms. Sands replaced Geordie Greig following his departure to The Mail on Sunday in March 2012.[21] Veronica Wadley was the newspaper's editor between 2002 and 2009.[22] Max Hastings was editor from 1996 until he retired in 2002.

text: The London Evening Standard, although a regional newspaper, does cover national and international news, though with an emphasis on London-centred news (especially in its features pages), covering building developments, property prices, traffic schemes, politics, the congestion charge and, in the Londoner's Diary page, gossip on the social scene. It also occasionally runs campaigns on local issues that national newspapers do not cover in detail.

text: It has a tradition of providing arts coverage. Its best known former art critic, Brian Sewell, was known for his acerbic view of conceptual art, Britart and the Turner Prize[23] and his views attracted controversy and criticism in the art world.[24] He has been described as "Britain's most famous and controversial art critic".[25]

text: 2008 London mayoral election[edit]

text: During the 2008 London mayoral election the newspaper –  and particularly its correspondent Andrew Gilligan –  published articles in support of the Conservative candidate, Boris Johnson, including frequent front-page headlines condemning Ken Livingstone. This included the headline "Suicide bomb backer runs Ken's campaign".[26]

text: 2010 general election[edit]

text: On 5 May 2010, the newspaper stated in an editorial that, having supported Labour under Tony Blair, the newspaper would be supporting David Cameron and the Conservatives in the General Election, saying that "the Conservatives are ready for power: they look like a government in waiting."[27]

text: 2015 general election[edit]

text: On 5 May 2015, an editorial stated that the newspaper would again be supporting David Cameron and the Conservatives in the 2015 General Election, saying that the Conservatives have "shown themselves to be good for London."[28] The newspaper did however also claim "there may be good tactical reasons to vote Liberal Democrat."[28]

text: 2016 London mayoral election[edit]

text: A study conducted by the Media Reform Coalition (MRC) and Goldsmiths University of London argued that, in the 2016 elections for the new Mayor of London, the London Evening Standard was the "mouthpiece of the Conservative Party", according to MRC chair Justin Schlosberg.[29] Schlosberg accused the Standard of being

text: "systematically biased in the way that headlines and news stories were framed, selected and prioritised. This is all the more concerning because bias was concentrated in relatively prominent headlines and in news reports where readers are less likely to expect opinion to be mobilised."

text: There were almost twice as many positive headlines about the Conservative candidate, Zac Goldsmith, as for his Labour rival, Sadiq Khan, with stories exhibiting the strongest bias against Khan also being the most prominent. 13 out of 15 official press releases from the Goldsmith campaign in the two months to 12 April were published as news stories in the paper, "reproducing headlines from the news release virtually verbatim", according to the study.[29]

text: Freesheet and supplements[edit]

text: On 14 December 2004, Associated Newspapers launched a Monday–Friday freesheet edition of the Evening Standard called Standard Lite to help boost circulation. This had 48 pages, compared with about 80 in the main paper, which also had a supplement on most days.[30]

text: In August 2006, the freesheet was relaunched as London Lite. It was designed to be especially attractive to younger female readers, and featured a wide range of lifestyle articles, but less news and business news than the main paper. It was initially only available between 11.30 a.m. and 2.30 p.m. at Evening Standard vendors and in the central area, but later became available in the evening from its street distributors.[31] With the sale of the Evening Standard, but not the London Lite, to Alexander Lebedev on 21 January 2009, the ownership links between the Standard and the Lite were broken.[32]

text: On Fridays, the newspaper includes a free glossy lifestyle magazine, ES (originally the Evening Standard Magazine, circulating on Saturdays until 1974), and the circulation was increased to 350,000 in September 2014. This has moved from more general articles to concentrate on glamour, with features on the rich, powerful and famous. On Wednesdays, readers can pick up a free copy of the Homes & Property supplement, edited by Janice Morley, which includes London property listings as well as articles from lifestyle journalists including Barbara Chandler, Katie Law and Alison Cork.

text: An entertainment guide supplement Metro Life (previously called Hot Tickets) was launched in September 2002. This was a what's-on guide with listings of cinemas and theatres in and around London, and was given away on Thursdays. It was discontinued on 1 September 2005.

text: The paper also supplies occasional CDs and DVDs for promotions. It also give Londoners a chance to win exclusive tickets to film premieres and sports tournament tickets, such as the Wimbledon Ladies Singles Final.

text: Websites[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2009) (Learn how and when to remove this template message)

tag: table

text: The newspaper's This Is London website carries some of the stories from the Evening Standard and promotions, reviews and competitions. It also includes a number of blogs by Evening Standard writers, such as restaurant critic Charles Campion, theatre critic Kieron Quirke and music critic David Smyth. A separate website contains images of each page of the print edition (two versions) and supplements.

text: Editors[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2017) (Learn how and when to remove this template message)


document_title: A Star Is Born (2018 soundtrack)

question_text: who wrote maybe it's time for a star is born

question_tokens: who wrote maybe it 's time for a star is born

text: A Star Is Born (2018 soundtrack)

text: Background and development[edit]

text: In March 2015, Warner Bros. announced that Bradley Cooper was in talks to make his directorial debut with A Star Is Born, the fourth remake of the 1937 film of the same name.[2] Lady Gaga was officially attached to the film in August 2016, with the studio green-lighting the project to begin production in early 2017.[3] Cooper plays Jackson Maine, "a veteran country singer who discovers and eventually falls in love with a struggling singer-songwriter named Ally, played by Gaga."[4] Gaga "helped inform Cooper's performance as a musician".[5]

text: Cooper spent two-and-a-half years prepping for the film and determining what kind of musician his character would be. He worked with a number of musicians and vocal coach Roger Love.[6] Cooper said, "by the end he just kind of started developing into his own sort of creation. If I had another year of prep, it would have been complete rock, but now it's some sort of hybrid."[6]

text: Writing and recording[edit]

text: Cooper described the soundtrack "an evolution, like the story."[7] Gaga and Cooper were writing songs for the soundtrack during filming, leading to "so many different incarnations of each song."[7] Cooper added that "the music really became a character in the movie. There is no lyric that's ever in any point of the movie that doesn't have exactly to do with where one of them is or hopes to be or regrets being. That was our launching pad and then it was just about discovering what songs fit in the right places."[7] Jason Isbell wrote a song for Cooper's character, which became "the sword with which a lot of the music spawned from [Cooper]". Isbell sent the song through Dave Cobb, a Nashville-based producer with whom Cooper had been collaborating.[8]

text: Cooper approached Lukas Nelson (son of country music singer Willie Nelson) after seeing him perform at Desert Trip in October 2016 and asked him to work on the film as a music consultant.[9] Nelson said he began "writing songs for the movie, just for the heck of it, and sending them over to the producer, and they started liking them. Then Lady Gaga came by and I met her and we clicked. We became good friends, and we started writing together."[10] Gaga, in turn, provided backing vocals on two tracks on Nelson's self-titled album released in 2017.[11] Nelson and his band, Lukas Nelson & Promise of the Real, appear in the film as Cooper's backing band.[6]

text: Gaga reunited with producer Mark Ronson and songwriter Hillary Lindsey, who had both contributed to her previous studio album Joanne (2016).[6] She worked with recurring collaborator DJ White Shadow on the soundtrack's more pop-oriented numbers performed by her character Ally. Much of the album was recorded live on set, at Gaga's insistence.[1][6]

text: Music and lyrics[edit]

text: Billboard described the soundtrack as "integral to the plotline", adding that "many of the lyrics are about wanting and longing for change, but noting the struggle. Some express the great love and beautiful bond the booze-addled rock star (Jackson Maine, played by Cooper) and neophyte singer-songwriter (Ally, played by Lady Gaga) have for each other", and concluding that "the music stands up, movie or no movie. They are timeless, emotional, gritty and earnest. They sound like songs written by artists who, quite frankly, are supremely messed up but hit to the core of the listener."[12]

text: Release[edit]

text: The soundtrack's track list and release date were announced on August 30, 2018.[4] Interscope Records tweeted that the album "features 19 songs in a wide range of musical styles + 15 dialogue tracks that will take you on a journey that mirrors the experience of seeing the film."[13] Its track "Shallow" was released on September 27 as the album's lead single.[14]

text: Critical reception[edit]

text: Professional ratingsAggregate scoresSourceRatingMetacritic78/100[15]Review scoresSourceRatingAllMusic[16]The Daily Telegraph[17]The Guardian[18]NME[19]Pitchfork7.4/10[20]Rolling Stone[21]Slant Magazine[22]

text: The soundtrack received positive response from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album has an average score of 78, based on 8 reviews, indicating  "generally favorable reviews".[15] In a positive review, The Washington Post called the soundtrack a "five-star marvel" and stated that it is a possible contender to win a Grammy Award.[23] Ben Beaumont-Thomas of The Guardian gave the album a positive review, acknowledging "Bradley Cooper shows he can sing as well as act and direct", but that "it is Lady Gaga’s pop prowess that lifts each track, be it spectacular piano ballads or heart-rending duets"[18]

text: In a positive review, Stephen Thomas Erlewine, writing for AllMusic, said "All the songs make sense narratively and on their own, so they hold together well and would amount to a first-rate soundtrack", but criticized the dialogue included in the album.[16] Rolling Stone's Brittany Spanos gave the soundtrack four stars out of a possible five, saying "The music Gaga helps write for this stretch in Ally’s career...is gorgeous--romantic without being trite and powerful."[21] Nick Reilly of NME complimented the album's "emotionally charged songs that feel entirely appropriate for this heartfelt tale of doomed romance", adding that the album is "one of the best Hollywood soundtracks of recent years."[19]

text: Writing for The Daily Telegraph, Neil McCormick gave the album a moderately positive review, saying the soundtrack was enjoyable, but criticized the "slightly awkward journey from rock balladry to slickly superficial pop" and stated that "there is also a weird disconnect as the soundtrack shifts gear to anodyne modern pop".[17] Jeremy Winograd of Slant Magazine, in a mixed review, was critical of the album, saying "There’s undoubtedly a strong 10-song album lodged at the core of A Star Is Born, but unlike the film, wherein an outsized sense of sentimentality is rendered affecting by the more grounded performances, there’s not nearly enough substance here to justify all the bombast."[22]

text: Commercial performance[edit]

text: A Star Is Born opened atop the US Billboard 200 with 231,000 album-equivalent units, including 162,000 pure album sales. It had the biggest overall sales week for a soundtrack in over three years, and is Gaga's fifth US number-one album as well as Cooper's first. Gaga extended her record as the female artist with the most chart-topping albums during the 2010s, breaking her tie with Taylor Swift. Beside its pure album sales, A Star Is Born earned 37,000 in stream-equivalent units and 32,000 from track-equivalent units.[24] The soundtrack spent a second week at number one there with 143,000 album-equivalent units (86,000 being pure sales), and became Gaga's second album to top the chart for two consecutive weeks after Born This Way (2011).[25] It then held the country's summit for a third week in a row with 109,000 equivalent units (61,000 pure sales), becoming the first soundtrack since High School Musical 2 in 2007 to top the chart for its first three weeks. Additionally it became Gaga's longest running chart-topping album in the country.[26]

text: A Star Is Born entered at number one on the Canadian Albums Chart, selling 18,000 equivalent units, earning the top sales and digital song download honors and the seventh highest on-demand streams for the week. The soundtrack was Gaga's third album to reach the summit in the nation and her first since Born This Way.[27] The soundtrack held the top position for the next week, with another 12,000 equivalent units and was also the top-selling album.[28] It had an 11% increase in sales during the third week and remained atop the charts, selling close to 14,000 equivalent units. Like in the United States, the soundtrack became Gaga's longest running chart-topping album in Canada for Gaga.[29]

text: In the United Kingdom, A Star Is Born faced competition from Twenty One Pilots' fifth studio album, Trench, with the midweek chart suggesting the latter to emerge as the top album. A Star Is Born pulled ahead at the last moment according to Alan Jones from Music Week, and debuted atop the UK Albums Chart with 31,816 units (including 6,178 from stream-equivalent units). It became Gaga's fourth album to reach number one in the nation and first since Artpop (2013), as well as Cooper's first entry on the chart.[30][31] The soundtrack was then displaced by Jess Glynne's Always In Between the following week, and it fell to number two, selling 24,732 equivalent units.[32][33] For the week ending November 1, 2018, the soundtrack moved back atop the chart with 24,982 copies sold (including 6,645 from sales-equivalent streams). "Shallow" also reached the top of the UK Singles Chart that week, making Gaga and Cooper score an Official UK Chart double, this being Gaga's third time to do so.[34][35]

text: A Star Is Born opened at number one in Ireland and Scotland,[36][37] and was Gaga's third number one in the former.[38] During its third week atop the Irish chart, the soundtrack attained its highest sales tally.[39] In France, the soundtrack sold 8,700 units and debuted at number seven on the SNEP Albums Chart, and held the same position the next week with another 8,000 units.[40][41] In Australia, A Star Is Born entered at number three on the ARIA Albums Chart, giving Gaga her seventh top 10 album in the country and her sixth to reach the top three.[42] Two weeks later, the soundtrack reached the top of the charts, becoming Gaga's third album to reach the Australian charts summit after The Fame Monster and Born This Way.[43] The soundtrack debuted at number six in the New Zealand Albums Chart, and after two weeks reached the top.[44]

text: Track listing[edit]

text: Standard version[45]No.TitleWriter(s)Producer(s)Length1."Intro"  0:202."Black Eyes" (performed by Bradley Cooper)CooperLukas NelsonCooperNelsonLady Gaga[a][b]3:033."Somewhere Over the Rainbow" (dialogue; featuring Lady Gaga)Harold ArlenE.Y. HarburgClaire Louise Whittleston[46] 0:424."Fabulous French" (dialogue; featuring Bradley Cooper, Lady Gaga, Anthony Ramos and D.J. "Shangela" Pierce)  0:195."La Vie en rose" (performed by Lady Gaga)LouiguyÉdith PiafGagaBrian Newman2:596."I'll Wait for You" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:197."Maybe It's Time" (performed by Bradley Cooper)Jason IsbellCooperBenjamin RiceGaga[a]2:398."Parking Lot" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:319."Out of Time" (performed by Bradley Cooper)CooperNelsonCooperNelson2:5210."Alibi" (performed by Bradley Cooper)GagaCooperNelsonGagaCooperNelson3:0311."Trust Me" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:32[e]12."Shallow" (performed by Lady Gaga and Bradley Cooper)GagaMark RonsonAnthony RossomandoAndrew WyattGagaRice3:3513."First Stop, Arizona" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:1014."Music to My Eyes" (performed by Lady Gaga and Bradley Cooper)GagaNelsonNelson3:1915."Diggin' My Grave" (performed by Lady Gaga and Bradley Cooper)Paul KennerleyGagaNelson3:5716."I Love You" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:1917."Always Remember Us This Way" (performed by Lady Gaga)GagaNatalie HembyHillary LindseyLori McKennaDave CobbGaga3:3018."Unbelievable" (dialogue; featuring Lady Gaga and Rafi Gavron)  0:2819."How Do You Hear It?" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:1420."Look What I Found" (performed by Lady Gaga)GagaMark Nilan Jr.Nick MonsonPaul "DJWS" BlairNelsonAaron RaitiereGagaNilanMonsonBlair2:5521."Memphis" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:2422."Heal Me" (performed by Lady Gaga)GagaNilanMonsonBlairJulia MichaelsJustin TranterGagaNilanMonsonBlair3:1623."I Don't Know What Love Is" (performed by Lady Gaga and Bradley Cooper)GagaNelsonGaga[c]NelsonNilan[b]Monson[b]2:5724."Vows" (dialogue; featuring Lady Gaga)  0:1725."Is That Alright?" (performed by Lady Gaga)GagaNilanMonsonBlairRaitiereGagaNilanMonsonBlair3:1126."SNL" (dialogue; featuring Alec Baldwin, Donald King, Michael Mancini and Gena Rositano)  0:1327."Why Did You Do That?" (performed by Lady Gaga)GagaDiane WarrenNilanMonsonBlairGagaNilanMonsonBlair3:0428."Hair Body Face" (performed by Lady Gaga)GagaNilanMonsonBlairGagaNilanMonsonBlairRice[d]3:2229."Scene 98" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:35[f]30."Before I Cry" (performed by Lady Gaga)GagaNilanMonsonBlairGagaNilanMonsonBlair4:1831."Too Far Gone" (performed by Bradley Cooper)CooperNelsonCooperNelson1:2632."Twelve Notes" (dialogue; featuring Lady Gaga and Sam Elliott)  1:0333."I'll Never Love Again" (film version) (performed by Lady Gaga and Bradley Cooper)GagaHembyLindseyRaitiereGagaRice4:4134."I'll Never Love Again" (extended version) (performed by Lady Gaga)GagaHembyLindseyRaitiereGagaRice5:28Total length:70:01[g]

text: showVersion without dialogue[47]No.TitleLength1."Black Eyes"3:032."La Vie en rose"2:593."Maybe It's Time"2:394."Out of Time"2:525."Alibi"3:036."Shallow" (radio edit)3:377."Music to My Eyes"3:198."Diggin' My Grave"3:579."Always Remember Us This Way"3:3010."Look What I Found"2:5511."Heal Me"3:1612."I Don't Know What Love Is"2:5713."Is That Alright?"3:1114."Why Did You Do That?"3:0415."Hair Body Face"3:2216."Before I Cry"4:1817."Too Far Gone"1:2618."I'll Never Love Again" (film version) (radio edit)4:4119."I'll Never Love Again" (extended version) (radio edit)5:28Total length:63:37

text: Notes

text:
^[a]  – additional vocal production
^[b]  – additional production
^[c]  – main and additional production
^[d]  – vocal production
^[e]  – 0:31 on clean version of the album
^[f]  – 0:34 on clean version of the album
^[g]  – 69:59 for clean version of the album

tag: ul

text: Charts[edit]

text:
Chart (2018)

Peak position

Argentinian Albums (CAPIF)[48]

3

Australian Albums (ARIA)[49]

1

Austrian Albums (Ö3 Austria)[50]

2

Belgian Albums (Ultratop Flanders)[51]

4

Belgian Albums (Ultratop Wallonia)[52]

4

Canadian Albums (Billboard)[53]

1

Croatia International Albums (HDU)[54]

3

Czech Albums (ČNS IFPI)[55]

1

Dutch Albums (MegaCharts)[56]

3

Estonian Albums (IFPI)[57]

1

Finnish Albums (Suomen virallinen lista)[58]

12

French Albums (SNEP)[59]

7

German Albums (Offizielle Top 100)[60]

5

Greek Albums (IFPI Greece)[61]

4

Hungarian Albums (MAHASZ)[62]

15

Icelandic Albums (Tonlist)[63]

4

Irish Albums (OCC)[64]

1

Italian Albums (FIMI)[65]

4

New Zealand Albums (RMNZ)[44]

1

Norwegian Albums (VG-lista)[66]

2

Polish Albums (ZPAV)[67]

32

Portuguese Albums (AFP)[68]

2

Scottish Albums (OCC)[37]

1

Slovak Albums (ČNS IFPI)[69]

1

South African Albums (RiSA)[70]

18

South Korean Albums (Gaon)[71]

37

South Korean International Albums (Gaon)[72]

1

Spanish Albums (PROMUSICAE)[73]

2

Swedish Compilation (Sverigetopplistan)[74]

1

Swiss Albums (Schweizer Hitparade)[75]

1

UK Albums (OCC)[76]

1

UK Soundtrack Albums (OCC)[77]

1

US Billboard 200[78]

1

US Soundtrack Albums (Billboard)[79]

1

US Top Tastemaker Albums (Billboard)[80]

1

text: Release history[edit]

text:
Region

Date

Format

Label

Ref.

Various

October 5, 2018

Digital download
Streaming
CD
LP

Interscope

[81]

Japan

November 7, 2018

CD
LP

[82]