title: Buffalo Soldier

text: Evidence from court martial documents also suggest that the Buffalo Soldiers willingly participated in various actions and were able to dissent if they so wished. Cpl. Charles Woods was tried by a general court-martial at Austin, Texas, on June 4, 1867. There were several charges in the case, including mutiny, striking his superior officer, and desertion. Corporal Woods pleaded "not guilty" to the first two charges and "guilty" to the third charge of desertion. Woods was found guilty of all three charges and sentenced to death. Because of facts brought out during the case, including the harsh treatment by an officer toward his men, the judge advocate general recommended that Woods's sentence be remitted. In writing to the adjutant general, the judge advocate general wrote, "But in view of the extraordinary circumstances developed by the testimony, showing that there was no disposition on the part of the prisoner either to mutiny or to desert, but that his conduct, and that of his company, was the result of outrageous treatment on the part of one of the commissioned officers, and in view of the suffering he has already endured, the sentence is remitted and the prisoner will be restored to duty." A November 20 regimental order reduced Woods to the rank of private.


title: Buffalo Soldier

text: Many reports exist to detail the daily life of the Buffalo Soldier. The report of an infantryman serving under Sergeant Joseph Luckadoe about the night of an attack on a Texas Mail Station in 1873 states: "While sitting in the Station our attention was attracted by the dogs barking at what we at the time, supposed to be a Cayote, to be sure, I told [Private Joshua L.] Newby to get his gun and see what they were barking at. When he got near the Haystack, he was fired upon by some one, the ball merely passing him and imbeded itself in one of the Corral posts. We seized our guns, and rushed out of doors when they discharged some 8 shots at us, the balls striking the stone and flatt[en]ing out with the exception of two, one is imbeded in one of the uprights for our Arbor, the other, as I turned around, struck my Cap brim, cutting away a portion of the cloth and pasteboard but did not hurt me ... I told [Private Henry] Williams to fire on them, this he done, when one of them fell at the second shot – at daybreak we found that he had bled all over the stones at least a half gallon of blood, they taken him off with them ... I do not think they were Indians they were to[o] bold and defiant although there are plenty of Moccasin tracks in the gulch. I think that more than one of the party was hurt. I think we killed the one that bled so much – we did not sleep any on the 31st, we are all well, and on the lookout. Please ask the Col. To send some more ammunition we have 130 rounds ... and please send those Beans to the station keeper and some vegetables, if you have some to spare."Writing in the veterans' newspaper Winners of the West, Scott Lovelace summarized the 10th Cavalry's activities during the late 1870s as "chasing the redskins to help blaze a right of way for the settlers of the wild west". Another 10th Cavalry veteran, George W. Ford, reflected: "Our sacrifices and hardships opened up a great empire to civilization."


title: Buffalo Soldier

text: Many of the Buffalo Soldiers went on to lead prosperous lives. Samuel Bridgwater joined the 24th Infantry Regiment in the 1880s. In 1892, he married Mamie Anderson and brought her to Fort Huachuca, Arizona. After being wounded fighting in the Philippines, he served as a cook. Eventually, the Bridgwaters established themselves in Helena, Montana, buying property, raising their children, and becoming active in community affairs. Many of his and his family's portraits can be seen in the archives of the Smithsonian's National Museum of American History.


title: Buffalo Soldier

text: Born in the Indian territory of Oklahoma in 1897, Benjamin B. Blayton and his twin brother joined the 92nd Division in 1918. Having left their small town for Washington, D.C., both men were eager to see the world. Blayton fought in the 365th regiment, which saw combat in the decisive Meuse-Argonne battle in France. For his heroic service, Blayton garnered two battle clasps on his World War I Victory Medal. Blayton married Oletha Brown, who had come to the capital to help the war effort by sewing uniforms. Blayton went on to work in the Patent Office and Postal Service.


title: Buffalo Soldier

text: This list is of the officers and men who received the Medal of Honor for service with the original units called "Buffalo Soldiers".


title: Buffalo Soldier

text: This list is of other notable African Americans who served in the original units as "Buffalo Soldiers" from 1866 to 1918.


title: Kimiko Glenn

text: Kimiko Elizabeth Glenn (June 27, 1989) is an American actress and Broadway performer known for portraying Brook Soso in the Netflix series "Orange Is the New Black", for which she received three ensemble Screen Actors Guild Awards. She also starred as Dawn Pinkett in the Broadway musical "Waitress" and has provided the voices of Ezor in "", Lena Sabrewing in "DuckTales", Peni Parker in "", Stefani Stilton in "BoJack Horseman", Bridgette Hashima in "Close Enough", Horse in "Centaurworld", and Izzy Moonbow in "".


title: Kimiko Glenn

text: Glenn was born and raised in Phoenix, Arizona, with her sister, Amanda. Her mother, Sumiko, is Japanese, and her father, Mark, is of Scottish, Irish, and German descent. Glenn began acting at the Valley Youth Theatre in Phoenix and several other local theaters when she was in fifth grade. She attended Desert Vista High School in Phoenix and the Interlochen Arts Academy boarding school in Interlochen, Michigan. She attended the Boston Conservatory for a year as a musical theatre major, but dropped out when she was cast in the touring company of "Spring Awakening".


title: Kimiko Glenn

text: During her freshman year of college, in 2008, Glenn was cast as Thea in the first U.S. national tour of Steven Sater's and Duncan Sheik's rock musical "Spring Awakening". In 2013, she booked her breakthrough role as Litchfield Penitentiary inmate Brook Soso in the Netflix comedy-drama series "Orange Is the New Black", for which she received Screen Actors Guild Awards in 2014, 2015, and 2016 for Outstanding Performance by an Ensemble in a Comedy Series.


title: Kimiko Glenn

text: In 2014, she appeared in the Lena Dunham-directed music video "I Wanna Get Better" for Jack Antonoff's solo project Bleachers.


title: Kimiko Glenn

text: Glenn played the supporting role of Liv Kurosawa in the drama-thriller film "Nerve" (2016), directed by Henry Joost and Ariel Schulman and based on the young adult novel of the same name. In 2016, she was cast as Dawn Pinkett in the Broadway transfer production of Sara Bareilles's and Jessie Nelson's musical "Waitress". Preview performances began on March 25, 2016, at the Brooks Atkinson Theatre, and the show officially opened on April 24.


title: Kimiko Glenn

text: In 2018, Glenn began starring as Harlow in the comedy Web television series "Liza on Demand", with Travis Coles and creator Liza Koshy. In 2019, she was a guest presenter with Nev Schulman on the MTV show "".


title: Britney Spears discography

text: American pop singer Britney Spears has released nine studio albums, eight compilation albums, nine box sets, three extended plays (EPs), 48 singles (including two as a featured artist), ten promotional singles, two charity singles, and has made three guest appearances. In 1997, Spears signed a recording contract with American record label Jive Records in order to launch her career.


title: Britney Spears discography

text: Spears made her chart debut in November 1998 with "...Baby One More Time", which was followed by the release of her debut studio album, "...Baby One More Time" (1999). The record opened the Canadian Albums Chart and the US "Billboard" 200 at number one, being later certified fourteen times platinum by the Recording Industry Association of America (RIAA). The singer's second studio album, "Oops!... I Did It Again", was made available for consumption on May 16, 2000, and became the fastest-selling record ever by a female act in America, bringing first-week sales of 1,319,193 units and certified diamond in United States. It spawned four singles—"Oops!... I Did It Again", "Lucky", "Stronger", and "Don't Let Me Be the Last to Know". In November 2001, the singer's third eponymous album spawned worldwide hit "I'm a Slave 4 U", which had been pointed out by music critics for being a musical departure from her previous material. Spears released her fourth studio album, "In the Zone", in November 2003, which featured "Me Against the Music"—a collaboration with Madonna that reached the top position of the European Hot 100 Singles—and "Toxic", which earned Spears her first Grammy in the category of Best Dance Recording, and gained her credibility among critics. The singer's first compilation album, "", was released the following year.


title: Britney Spears discography

text: Following experiencing personal struggles through 2007, Spears's fifth studio album, "Blackout", was released in October of the same year. Unlike all of the singer's previous records, "Blackout" failed to be heavily promoted through magazine interviews, talk-show appearances, or televised performances—besides a performance at the 2007 MTV Video Music Awards—and was not accompanied by a supporting tour either. With the release of her sixth studio album "Circus", Spears became the only act in the Nielsen SoundScan era—from 1991 to present,—to have four records debuting with 500,000 or more copies sold in the United States. Supported by the releases of commercially successful international hits like "Womanizer" and "Circus", it managed to sale four million copies globally. The singer's third compilation album, "The Singles Collection", featured her third number one single in America, "3". In 2011, she released the song "Hold It Against Me", which made Spears the second artist in the "Billboard" Hot 100's 52-year history to debut at number one with two or more songs, just behind American recording artist Mariah Carey. The track was included on her seventh studio album, "Femme Fatale", which debuted at number one in that country. Also her first album ever to yield three top ten hits in the US, including commercially successful singles like "Till the World Ends" and "I Wanna Go". Spears's eighth studio album, "Britney Jean", was released in 2013. It marks Spears's first major activity under RCA Records since the dissolution of her long-time record label, Jive Records, in 2011. Receiving mixed reviews from music critics, it experienced minor commercial success, and thus became the lowest-selling record of her career. Spears began working on her ninth studio album in 2014; she also renewed her record deal with RCA Records. "Glory" was released in 2016 and received positive reviews from music critics. The album debuted at number three on US "Billboard" 200 with 111,000 album-equivalent units, including 88,000 copies sold, and spawned the singles "Make Me" and "Slumber Party", which peaked at 17 and 86 on the Hot 100, and topped the Dance Club Songs in the United States.


title: Britney Spears discography

text: Spears has sold over 100 million records worldwide, including 70 million records in United States (36.9 million digital singles and 33.6 million digital albums), making her one of the best-selling music artists of all time. "Billboard" ranked her the eighth overall Artist of the Decade, and also recognized her as the best-selling female album artist of the 21st century's first decade, as well as the fifth overall. Additionally, the Recording Industry Association of America recognized Spears as the eighth best-selling female artist in the United States, with 34.5 million certified albums. Spears serves as one of the few artists in history to have a number-one single and studio album in each of the three decades of their career—1990s, 2000s, and 2010s. As of 2019, Spears has reportedly drawn 25 billion in cumulative radio airplay audience and 2.6 billion on-demand U.S. audio and video streams combined.


title: All your base are belong to us

text: "All your base are belong to us" is an Internet meme based on a badly translated phrase from the opening cutscene of the video game "Zero Wing". The phrase first appeared on the European release of the 1991 Sega Mega Drive port of the 1989 Japanese arcade game.


title: All your base are belong to us

text: By the early 2000s, a GIF animation depicting the opening text was widespread on the Something Awful message forums and other internet forums. The phrase found popular reference outside internet forums through the 2000s and 2010s, including use by Newgrounds in 2001.


title: All your base are belong to us

text: Below are some other examples of text as it appeared in the poorly translated English release, alongside a more accurate translation from the original Japanese.


title: All your base are belong to us

text: The meme was addressed by Toaplan's Tatsuya Uemura (the game's programmer and composer) and Masahiro Yuge (composer) in interviews during the 2010s. They stated the poor English translation in the Mega Drive version was handled by a member of Toaplan in charge of export and overseas business, whose English was poor.


title: All your base are belong to us

text: The phrase or some variation of lines from the game has appeared in numerous articles, books, comics, clothing, movies, radio shows, songs, television shows, video games, webcomics, and websites.


title: All your base are belong to us

text: In November 2000, Kansas City computer programmer, Something Awful forum member, and part-time disc jockey Jeffrey Ray Roberts (1977–2011) of the gabber band the Laziest Men on Mars, made a techno dance track, "Invasion of the Gabber Robots", which remixed some of the "Zero Wing" video game music by Tatsuya Uemura and Noriyuki Iwadare with a voice-over phrase "All your base are belong to us". Tribal War forums member Bad_CRC in February 2001 created a Flash animation combining Roberts' song and the various images created in a Something Awful AYB Photoshop thread, which proceeded to go viral.


title: All your base are belong to us

text: "Wired" provided a report on the phenomenon in February 2001, covering it from the Flash animation to its spread through email and internet forums to T-shirts bearing the phrase.


title: All your base are belong to us

text: On April 1, 2003, in Sturgis, Michigan, seven people placed signs through the town that read: "All your base are belong to us. You have no chance to survive make your time." They claimed to be playing an April Fool's joke, but most people who saw the signs were unfamiliar with the phrase. Many residents were upset that the signs appeared while the U.S. was at war with Iraq, and police chief Eugene Alli said the signs could be "a borderline terrorist threat, depending on what someone interprets it to mean".


title: All your base are belong to us

text: In February 2004, North Carolina State University students and members of TheWolfWeb in Raleigh, North Carolina exploited a web-based service used by local schools and businesses to report weather-related closures to display the phrase within a news ticker on a live news broadcast on News 14 Carolina.


title: All your base are belong to us

text: On June 1, 2006, YouTube was taken down for maintenance. The phrase "ALL YOUR VIDEO ARE BELONG TO US" appeared below the YouTube logo as a placeholder while the site was down. Some users believed the site had been hacked, leading YouTube to add the message "No, we haven't be hacked. Get a sense of humor."


title: All your base are belong to us

text: On January 19, 2019, American Congresswoman Alexandria Ocasio-Cortez (Democrat from New York) tweeted "All your base (are) belong to us" in response to a poll by Hill–Harris indicating that 45% of the Republicans who were polled approved of Ocasio-Cortez's suggested implementation of a 70% marginal tax rate for individuals making more than $10 million per year.


title: Sunita Mani

text: Sunita Mani (born December 13, 1986) is an American actress, dancer and comedian. She is best known for her television roles as Trenton in the USA Network drama "Mr. Robot" (2015–2017) and Arthie Premkumar in the Netflix comedy "GLOW" (2017–2019). Mani played the lead roles in the 2020 films "Save Yourselves!" and "Evil Eye".


title: Sunita Mani

text: She began her acting career by appearing in the MTV web TV pilot "Writer's Block", and in commercials for Burger King and Levi's.


title: Sunita Mani

text: Her first film appearance was in "The Unspeakable Act" (2012), an American coming-of-age drama written and directed by Dan Sallitt which won the Sarasota Film Festival's Independent Visions Award. Mani gained public recognition for her dance performance in the music video for the song "Turn Down for What", released in December 2013. She appeared in the drama–thriller television series "Mr. Robot" as Trenton. In 2016, she appeared in "Don't Think Twice", an episode of "Broad City", and episodes of "The Good Place". She was cast in the 2017 Netflix series "GLOW".


title: Tefillin

text: Tefillin (; Israeli Hebrew: / ; ), or phylacteries, are a set of small black leather boxes with leather straps containing scrolls of parchment inscribed with verses from the Torah. Tefillin are worn by adult Jews during weekday morning prayers. In Orthodox and traditional communities, they are worn solely by men, while some Reform and Conservative (Masorti) communities allow them to be worn by both men and women. By traditional Jewish Law (halacha), women are exempt from most time-dependent positive commandments.


title: Tefillin

text: Although "tefillin" is technically the plural form (the singular being "tefillah"), it is often used as a singular as well. The arm-tefillah (or "shel yad" [literally "of the hand"]) is placed on the upper (non-dominant) arm, and the strap wrapped around the forelimb, hand and middle finger; while the head-tefillah (or "shel rosh" [literally "of the head"]) is placed between the eyes at the boundary of the forehead and hair. They are intended to fulfill the Torah's instructions to maintain a continuous "sign" and "remembrance" of the Exodus from Egypt, as they were originally worn all day, from sunrise to sunset.


title: Tefillin

text: The biblical verses often cited as referring to tefillin are obscure. Deuteronomy , for instance, does not designate explicitly what specifically to "bind upon your arm", and the definition of ""totafot" between your eyes" is not obvious. These details are delineated in the Oral Torah. At least as early as the , many Jews understood the verses literally and wore physical tefillin, as shown by archaeological finds at Qumran and a reference in the New Testament. However, Karaite Judaism understands the verses to be metaphorical.


title: Tefillin

text: The word "tefillin" is not found in the Bible, which calls them (, "sign"), (, "memorial"), or (). The first texts to use "tefillin" are the Targumim and Peshitta and it is also used in subsequent Talmudic literature, although the word "ṭoṭafah" was still current, being used with the meaning of "frontlet".


title: Tefillin

text: The ultimate origin of Hebrew "tefillin" is uncertain. "Tefillin" may have derived from the Aramaic , "to plead, pray", a word closely related to the Hebrew , "prayer". Jacob ben Asher (14th century) suggests that "tefillin" is derived from the Hebrew , "justice, evidence", for tefillin act as a sign and proof of God's presence among the Jewish people.


title: Tefillin

text: The Biblical word , too, is of disputed etymology. The Septuagint renders "" as (, "something immovable"). Some believe it refers to a charm, similar to the Hebrew , "round jewel". The Talmud explains that the word is combination of two foreign words: means "two" in the "Katpi" language (Jastrow proposes: Coptic) and means "two" in the "Afriki" language, hence, and means "two and two", corresponding to the four compartments of the head-tefillin. Menahem ben Saruq explains that the word is derived from the Hebrew and , both expressions meaning "speech", "for when one sees the tefillin it causes him to remember and speak about the Exodus from Egypt". According to Jeffrey H. Tigay the word meant "headband" and was derived from a root meaning "to encircle", as ornamental bands encircling the head were common among Levantine populations in the biblical period.


title: Tefillin

text: The English word "phylactery" ("phylacteries" in the plural) derives from Ancient Greek ( in the plural), meaning "guarded post, safeguard, security", and in later Greek, "amulet" or "charm". The word "phylactery" occurs once (in ) in the Greek New Testament, whence it has passed into the languages of Europe. Neither Aquila nor Symmachus use "phylacteries" in their translations. The choice of this particular Greek equivalent to render the Heb. "tefillin" bears witness to the ancient functional interpretation of the said device as a kind of an amulet. The other Greek words for "amulet" are or , which literally signifies "things tied around", analogously to the Hebrew derived from the root meaning "to bind".


title: Tefillin

text: The tefillin are to serve as a reminder of God's intervention at the time of the Exodus from Egypt. Maimonides details of the sanctity of tefillin and writes that "as long as the tefillin are on the head and on the arm of a man, he is modest and God-fearing and will not be attracted by hilarity or idle talk; he will have no evil thoughts, but will devote all his thoughts to truth and righteousness". The "Sefer ha-Chinuch" (14th century) adds that the purpose of tefillin is to help subjugate a person's worldly desires and encourage spiritual development. Joseph Caro (16th century) explains that tefillin are placed on the arm adjacent to the heart and on the head above the brain to demonstrate that these two major organs are willing to perform the service of God.


title: Tefillin

text: Many have the custom to have high-quality tefillin and beautiful tefillin bags as a Hiddur Mitzvah. This idea comes from the verse "This is my God and I will glorify Him" (). The Jewish Sages explain: "Is it possible for a human being to add glory to his Creator? What this really means is: I shall glorify Him in the way I perform mitzvot. I shall prepare before Him a beautiful lulav, beautiful sukkah, beautiful fringes (Tsitsit), and beautiful phylacteries (Tefilin)."


title: Tefillin

text: Some non-Orthodox scholars think that tefillin may play an apotropaic function. For instance, Yehudah B. Cohn argues that the tefillin should be perceived as an invented tradition aimed at counteracting the popularity of the Greek amulets with an "original" Jewish one. Joshua Trachtenberg considered every ornament worn on the body (whatever its declared function) as initially serving the purpose of an amulet. In addition, the early Rabbinic sources furnish more or less explicit examples of the apotropaic qualities of tefillin. For instance, Numbers Rabbah 12:3 presents tefillin as capable of defeating "a thousand demons" emerging on "the left side", rabbis Yohanan and Nahman used their sets to repel the demons inhabiting privies, whereas Elisha the Winged, who was scrupulous in performing this mitzvah, was miraculously saved from the Roman persecution. Also, tefillin are believed to possess life-lengthening qualities, and they are often listed in one breath among various items which are considered amuletic in nature.


title: Tefillin

text: In earlier Talmudic times, tefillin were either cylindrical or cubical, but later the cylindrical form became obsolete. Nowadays the boxes should be fashioned from a single piece of animal hide and form a base with an upper compartment to contain the parchment scrolls. They are made in varying levels of quality. The most basic form, called "peshutim" ("simple"), are made using several pieces of parchment to form the inner walls of the head tefillin. The higher quality tefillin, namely "dakkot" ("thin"), made by stretching a thin piece of leather, and the more durable "gassot" ("thick") are both fashioned from the single piece of hide.


title: Tefillin

text: The main box which holds the tefillin scrolls, known as "ketzitzah" (קציצה), is cubical. Below it is a wider base known as the "titura" (תיתורא). At the back of the "titura" is a passageway ("ma'avarta", מעברתא) through which the tefillin strap is threaded, to tie the tefillin in place.


title: Tefillin

text: On both sides of the head-tefillin, the Hebrew letter "shin" () is moulded; the "shin" on the wearer's left side has four branches instead of three.


title: Tefillin

text: Black leather straps ("retsu'ot") pass through the rear of the base and are used to secure the tefillin onto the body. The knot of the head-tefillin strap forms the letter "dalet" () or double "dalet" (known as the square-knot) while the strap that is passed through the arm-tefillin is formed into a knot in the shape of the letter "yud" (). Together with the "shin" on the head-tefillin box, these three letters spell "Shaddai" (), one of the names of God.


title: Tefillin

text: The straps must be black on their outer side, but may be any color except red on their inner side. A stringent opinion requires them to be black on the inner side too, but more commonly the inner side is left the color of leather.


title: Tefillin

text: The Talmud specifies that tefillin straps must be long enough to reach one's middle finger, and records the practice of Rav Aha bar Jacob to tie and then "matleit" (plait? wind three times?) them. However, the passage leaves unclear where the measuring is done from, whether the reference is to hand- or head-tefillin, and what exactly the meaning of "matleit" is. Combining and interpreting the Talmud's statements, Maimonides, Tur, and Shulchan Aruch ruled that the strap of hand-tefillin must reach from where the tefillin is placed on the arm, as far as the middle finger, where it must be wound three times around the middle finger. Rema wrote that it is not necessary to wind around the finger (rather, the straps must be long enough that one "could" wind around the finger); however, this leniency does not appear in his comments to the Shulchan Aruch. In addition to the windings around the finger, the Shulchan Aruch states that the custom is to wind six or seven times around the forearm.


title: Tefillin

text: The four biblical passages which refer to the tefillin, mentioned above, are written on scrolls and placed inside the leather boxes. The arm-tefillin has one large compartment, which contains all four biblical passages written upon a single strip of parchment; the head-tefillin has four separate compartments in each of which one scroll of parchment is placed. This is because the verses describe the hand-tefillin in the singular ("sign"), while in three of four verses, the head-tefillin is described in the plural (""totafot"").


title: Tefillin

text: The passages are written by a scribe with special ink on parchment scrolls ("klaf"). These are: "Sanctify to me ..." (Exodus 13:1–10); "When YHWH brings you ..." (Exodus 13:11–16); "Hear, O Israel ..." (Deuteronomy 6:4–9); and "If you observe My Commandments ..." (Deuteronomy 11:13-21). The Hebrew Ashuri script must be used and there are three main styles of lettering used: "Beis Yosef" – generally used by Ashkenazim; "Arizal" – generally used by Hasidim; "Velish" – used by Sefardim.


title: Tefillin

text: The texts have to be written with halachically acceptable (acceptable according to Jewish law) ink on halachically acceptable parchment. There are precise rules for writing the texts and any error invalidates it. For example, the letters of the text must be written in order - if a mistake is found later, it can't be corrected as the replacement letter would have been written out of sequence. There are 3188 letters on the parchments, and it can take a sofer (scribe) as long as 15 hours to write a complete set. The scribe is required to imerse in a mikvah (ritual bath) before starting work.


title: Tefillin

text: Talmudic commentators debated the order in which scrolls should be written in the hand tefillin and inserted into the four compartments of the head-tefillin. Rashi held that the passages are placed according to the chronological order as they appear in the Torah ("Kadesh Li", "Ve-haya Ki Yeviehcha", "Shema", "Ve-haya Im Shemoa"), while according to Rabbeinu Tam, the last two passages are switched around. There are two additional opinions of the Shimusha Rabba and the Raavad, who hold that like Rashi and Rabbeinu Tam respectively, but they hold that the scrolls are placed in the head tefillin in mirror image of those opinions.


title: Tefillin

text: It is often claimed that of the tefillin dating from the 1st-century CE discovered at Qumran in the Judean Desert, some were made according to the order understood by Rashi and others in the order of Rabbeinu Tam; however, they in fact do not follow either opinion.


title: Tefillin

text: Nowadays, the prevailing custom is to arrange the scrolls according to Rashi's view, but some pious Jews are also accustomed to briefly lay the tefillin of Rabbeinu Tam as well, a custom of the Ari adopted by the Hasidim. The Vilna Gaon, who wore the tefillin of Rashi, rejected the stringency of also laying Rabbeinu Tam, pointing out that there were 64 possible arrangements of the tefillin scrolls, and it would not be practical to put on 64 different sets of tefillin to account for all possibilities. The Shulchan Aruch rules that only "one who is known and famous for his piety" should put on Rabbeinu Tam tefillin, while the Mishnah Brurah explains that if any other person puts on Rabbeinu Tam tefillin, it is a sign of arrogance.


title: Tefillin

text: The placement of the protrusion of a tuft of calf hairs ("se'ar eigel") identifies as to which opinion the tefillin were written.


title: Tefillin

text: The duty of laying tefillin rests upon Jews after the age of thirteen years. Women were traditionally exempt from the obligation; the Rema (Rav Moses Isserles, 16th century), a major codifier of the Jewish law, strongly discourages it.


title: Tefillin

text: Historically, the "mitzvah" of tefillin was not performed by women, but the ritual was apparently kept by some women in medieval France and Germany. It has been claimed Rashi's daughters and the wife of Chaim ibn Attar wore tefillin, but there is no historical evidence for these claims.


title: Tefillin

text: In modern times, people of all genders choose to wear tefillin, and are encouraged to do so by some. In 2018, a group of students from Hebrew College, a non-denominational rabbinical school in Boston, created a series of YouTube videos to help people of all genders learn how to wrap tefillin. Within the Orthodox movement, it remains a male-only obligation, but in egalitarian movements, others may observe this practice. Women affiliated with the Conservative movement wrap tefillin. Since 2013, SAR High School in Riverdale, New York, has allowed girls to wrap tefillin during morning prayer; it is probably the first Modern Orthodox high school in the U.S. to do so. The wearing of tefillin by members of Women of the Wall at the Western Wall caused consternation from the rabbi in charge of the site until a Jerusalem District Court judge ruled in 2013 that doing so was not a violation of "local custom".


title: Tefillin

text: A mourner during the first day of their mourning period is exempt from wrapping tefillin; according to Talmudic law, a bridegroom on his wedding-day is also exempt, but this later exemption is not practiced today. A sufferer from stomach-trouble or one who is otherwise in pain and cannot concentrate their mind is also exempt. One who is engaged in the study of the Law and scribes of and dealers in tefillin and "mezuzahs" while engaged in their work if it cannot be postponed, are also free from this obligation.


title: Tefillin

text: The codes view the commandment of tefillin as important, and call those who neglect to observe it "transgressors". Maimonides counts the commandment of laying the arm-tefillin and head-tefillin as two separate positive "mitzvot". The Talmud cites Rav Sheshet, who said that by neglecting the precept, one transgresses eight positive commandments. A report of widespread laxity in its observance is reported by Moses of Coucy in 13th-century Spain. It may have arisen from the fear of persecution, similar to what had occurred to the Jews living in the Land of Israel under Roman rule in the second century.


title: Tefillin

text: Originally tefillin were worn all day, but not during the night. Nowadays the prevailing custom is to wear them only during the weekday morning service, although some individuals wear them at other times during the day as well. Observant Jews make a tremendous effort to don Tefillin at the appropriate time every morning, even in crowded airports or while summiting the world's highest peaks.


title: Tefillin

text: Tefillin are not donned on Shabbat and the major festivals because these holy days are themselves considered "signs" which render the need of the "sign" of tefillin superfluous.


title: Tefillin

text: On the fast day of Tisha B'Av, Ashkenazim and some Sephardim do not wear tefillin during the morning (Shacharit) service and they are worn instead at the afternoon service (Mincha). Other Sephardim (following the Kabbalah) wear put on tefillin at Shacharit as usual.


title: Tefillin

text: On Chol HaMoed (intermediate days) of Pesach and Sukkot, there is a great debate among the early halachic authorities as to whether tefillin should be worn or not. Those who forbid it consider the "sign" of intermediate days as having the same status as the festival itself, making the ritual of tefillin redundant. Others argue and hold that Chol HaMoed does not constitute a "sign" in which case tefillin must be laid. Three customs evolved resulting from the dispute:


title: Tefillin

text: In light of the conflicting opinions, the "Mishna Berura" (early 20th-century), following the second compromise practice above, recommends Ashkenazim make the following stipulation before donning tefillin: "If I am obligated to don tefillin I intend to fulfill my obligation and if I am not obligated to don tefillin, my doing so should not be considered as fulfilling any obligation" and that the blessing not be recited.


title: Tefillin

text: Ashkenazi practice is to put on and remove the arm tefillin while standing in accordance to the "Shulchan Aruch", while most Sephardim do so while sitting in accordance with the Ari. All, however, put on and remove the head tefillin while standing. Halacha forbids speaking or being distracted while putting on the tefillin. An Ashkenazi says two blessings when laying tefillin, the first before he ties the arm-tefillin: ..."lehani'ach tefillin" ("to bind "tefillin""), and the second after placing the head tefillin: ..."al mitzvat tefillin" ("as to the commandment of "tefillin""); thereafter, he tightens the head straps and says ""Baruch Shem Kovod..."" ("blessed be the holy name"). The Sephardic custom is that no blessing is said for the head-tefillin, the first blessing sufficing for both. Sephardim and many members of the Chabad Orthodox movement only recite the blessing on the head-tefillah if they spoke about something not related to tefillin since reciting the blessing on the arm-tefillah.


title: Tefillin

text: The arm-tefillin is laid on the inner side of the bare left arm, right arm if one is left handed, two finger breadths above the elbow, so that when the arm is bent the tefillin faces towards the heart. The arm-tefillin is tightened with the thumb, the blessing is said, and the strap is immediately wrapped around the upper arm in the opposite direction it came from in order to keep the knot tight without having to hold it. Some wrap it around the upper arm for less than a full revolution (the bare minimum to keep the knot tight) and then wrap it around the forearm seven times, while others wrap it around the upper arm an additional time before wrapping it around the forearm. Many Ashkenazim and Italian Jews wear the knot to be tightened (not to be confused with the knot on the base which is permanently tied and always worn on the inside, facing the heart) on the inside and wrap inward, while most Nusach Sephard Ashkenazim and Sephardim wear it on the outside and wrap outward.


title: Tefillin

text: Then the head-tefillin is placed on the middle of the head just above the forehead, so that no part rests below the hairline. A bald or partially bald person's original hairline is used. The knot of the head-tefillin sits at the back of the head, upon the part of the occipital bone that protrudes just above the nape. The two straps of the head-tefillin are brought in front of the shoulders, with their blackened side facing outwards. Now the remainder of the arm-tefillin straps are wound three times around the middle finger and around the hand to form the shape of the Hebrew letter of either a "shin" () according to Ashkenazim, or a "dalet" () according to Sephardim. There are various customs regarding winding the strap on the arm and hand. In fact, the arm strap is looped for counter-clockwise wrapping with Ashkenazi tefillin while it is knotted for clockwise wrapping with Sephardic and Hasidic tefillin. On removing the tefillin, the steps are reversed.


title: Tefillin

text: Earlier, Yemenite Jews' custom was to put on arm-Tefillah and wind forearm with strap, making knot on wrist not winding a finger, and then put on head-Tefillah all made in sitting position. Later, Yemenite Jews followed by "Shulchan Aruch" and put on arm-Tefillah, making seven windings on forearm and three on a finger, and then put on head-Tefillah. Because according to the "Shulchan Aruch" head-Tefillah and arm-Tefillah are two different commandments, if both Tefillin aren’t available, then one can wear the available one alone.


title: Tefillin

text: German Jews also did not tie a finger earlier. But later they put on arm-Tefillah with a knot on biceps while standing, then put on head-Tefillah, and after that they wind seven wraps around forearm (counting by the seven Hebrew words of ), and three wraps around a finger.


title: Tefillin

text: The newest is Kabbalistic custom of Arizal, to put on arm-Tefillah and wind seven wraps on forearm while sitting, then head-Tefillah standing, after that three wraps around a finger. That is modern day common custom.


title: Tefillin

text: Some Western Sephardic families such as the Rodrigues-Pereira family have developed a personalized family wrapping method.


title: 18th century

text: The 18th century lasted from January 1, 1701 (MDCCI) to December 31, 1800 (MDCCC). During the 18th century, elements of Enlightenment thinking culminated in the American, French, and Haitian Revolutions. During the century, slave trading and human trafficking expanded across the shores of the Atlantic, while declining in Russia, China, and Korea. Revolutions began to challenge the legitimacy of monarchical and aristocratic power structures, including the structures and beliefs that supported slavery. The Industrial Revolution began during mid-century, leading to radical changes in human society and the environment.


title: 18th century

text: Western historians have occasionally defined the 18th century otherwise for the purposes of their work. For example, the "short" 18th century may be defined as 1715–1789, denoting the period of time between the death of Louis XIV of France and the start of the French Revolution, with an emphasis on directly interconnected events. To historians who expand the century to include larger historical movements, the "long" 18th century may run from the Glorious Revolution of 1688 to the Battle of Waterloo in 1815 or even later.


title: 18th century

text: The period is also known as the "century of lights" or the "century of reason". In continental Europe, philosophers dreamed of a brighter age. For some, this dream turned into a reality with the French Revolution of 1789, though this was later compromised by the excesses of the Reign of Terror. At first, many monarchies of Europe embraced Enlightenment ideals, but in the wake of the French Revolution they feared loss of power and formed broad coalitions to oppose the French Republic in the French Revolutionary Wars.


title: 18th century

text: The 18th century also marked the end of the Polish–Lithuanian Commonwealth as an independent state. Its semi-democratic government system was not robust enough to rival the neighboring states of the Prussia, Russia, and Austria, which partitioned the Polish–Lithuanian Commonwealth between themselves, changing the landscape of Central Europe and politics for the next hundred years.


title: 18th century

text: The Ottoman Empire experienced an unprecedented period of peace and economic expansion, taking part in no European wars from 1740 to 1768. As a consequence, the empire was not exposed to Europe's military improvements of the Seven Years' War. The Ottoman Empire military may have fallen behind and suffered several defeats against Russia in the second half of the century. In Southwest and Central Asia, Nader Shah led successful military campaigns and major invasions, which indirectly led to the founding of the Durrani Empire.


title: 18th century

text: The European colonization of the Americas and other parts of the world intensified and associated mass migrations of people grew in size as part of the Age of Sail. European colonization intensified in present-day Indonesia, where the Dutch East India Company established increasing levels of control over the Mataram Sultanate. Mainland Southeast Asia would be embroiled in the Konbaung–Ayutthaya Wars and the Tây Sơn rebellion, while in East Asia, the century marked the High Qing era and the continual seclusion policies of the Tokugawa shogunate.


title: 18th century

text: Various conflicts throughout the century, including the War of the Spanish Succession and the French and Indian War saw Great Britain triumphing over its European rivals to become the preeminent colonial power in Europe. However, Britain lost its colonies in North America after the American Revolutionary War, which went on to form the United States, initiating the decolonization of the Americas. The European colonization of Australia and New Zealand began during the late half of the century.


title: 18th century

text: In the Indian subcontinent, the death of Mughal emperor Aurangzeb marked the end of medieval India and the beginning of an increasing level of European influence and control in the region, which coincided with a period of rapid Maratha expansion. After the reign of Aurangzeb, the Mughal Empire became less powerful. In 1739, Nader Shah invaded and defeated the Mughal Empire. Later, his general Ahmad Shah Abdali scored another defeat against the Mughals in the Third Battle of Panipat in 1761. By the middle of the century, the British East India Company began to conquer the eastern parts of India, a process which accelerated after their victory over the Mughal emperor, Nawab of Bengal and their French allies at the Battle of Plassey. Mughal emperor transformed into mere puppet of British. By the end of the century, Company rule in India had come to cover more regions within South Asia, the British would also expand to the south, participating in the Anglo-Mysore Wars against the Kingdom of Mysore, governed by Tipu Sultan and his father Hyder Ali.


title: Prison Playbook

text: Prison Playbook () is a 2017 South Korean television series directed by Shin Won-ho and starring Park Hae-soo and Jung Kyung-ho. The series marks Park Hae-soo's first-ever lead role. It aired from November 22, 2017 to January 18, 2018 on tvN's Wednesdays and Thursdays at 21:10 (KST) time slot for 16 episodes.


title: Prison Playbook

text: The series was a commercial hit and became one of the highest rated Korean series on cable television history.


title: Prison Playbook

text: A captivating series revolving around the lives of convicts behind bars, their families and duty officers working in the correctional facilities. It focuses on the story of a superstar baseball pitcher, Kim Je-hyuk who is convicted of assault after he saves his sister from a sexual assault.


title: The Transformers (TV series)

text: The Transformers is an American animated television series that originally aired from September 17, 1984, to November 11, 1987, in syndication


title: The Transformers (TV series)

text: based upon Hasbro's "Transformers" toy line. The first television series in the "Transformers" franchise, it depicts a war among giant robots that can transform into vehicles and other objects.


title: The Transformers (TV series)

text: The series was produced by Marvel Productions and Sunbow Productions in association with Japanese studio Toei Animation for first-run syndication. Toei co-produced the show and was the main animation studio for the first two seasons. In the third season, Toei's involvement with the production team was reduced and the animation services were shared with the South Korean studio AKOM. The show's supervising producer (Nelson Shin) was also AKOM's founder. The fourth season was entirely animated by AKOM. The series was supplemented by a feature film, "" (1986), taking place between the second and third seasons.


title: The Transformers (TV series)

text: This series is also popularly known as "Generation One", a term originally coined by fans in response to the re-branding of the franchise as "" in 1992, which eventually made its way into official use. The series was later shown in reruns on Sci-Fi Channel and The Hub / Discovery Family.


title: The Transformers (TV series)

text: The Transformers toyline and animated series were inspired by the Japanese toyline, "Microman" (an Eastern descendant of the 12-inch G.I. Joe action figure series) by Takara. In 1980, the "Microman" spin-off, "Diaclone", was released, featuring inch-tall humanoid figures able to sit in the drivers' seats of scale model vehicles, which could transform into humanoid robot bodies the drivers piloted. Later still, in 1983, a "Microman" sub-line, "MicroChange" was introduced, featuring "actual size" items that transformed into robots, such as microcassettes, guns and toy cars. "Diaclone" and "MicroChange" toys were subsequently discovered at the 1983 Tokyo Toy Fair by Hasbro toy company product developer Henry Orenstein, who presented the concept to Hasbro's head of R&D, George Dunsay. Enthusiastic about the product, it was decided to release toys from both "Diaclone" and "MicroChange" as one toyline for their markets, although there were eventual changes to the color schemes from the original toys to match the new series.


title: The Transformers (TV series)

text: By 1984, U.S. regulators had removed many of the restrictions regarding the placement of promotional content within children's television programming. The way was cleared for the new product-based television program. Hasbro had previously worked with Marvel Comics to develop "" for a three-pronged marketing scheme – the toyline, a tie-in comic book by Marvel, and an animated mini-series co-produced by Marvel's media arm, Marvel Productions, and the Griffin-Bacal Advertising Agency's Sunbow Productions production house. Given the success of that strategy, the process was repeated in 1984 when Hasbro marketing vice president Bob Prupis approached Marvel to develop their new robot series, which Jay Bacal dubbed "Transformers."


title: The Transformers (TV series)

text: Marvel's Editor-in-Chief at the time, Jim Shooter, produced a rough story concept for the series, creating the idea of the two warring factions of alien robots – the heroic Autobots and the evil Decepticons. To flesh out his concept, Shooter called upon veteran editor Dennis O'Neil to create character names and profiles for the cast, but O'Neill's work did not meet with Hasbro's expectations, and they requested heavy revisions. O'Neill declined to make said revisions, and the project was turned down by several writers and editors approached by Shooter until editor Bob Budiansky accepted the task. Hastily performing the revisions over a weekend, Budiansky's new names and profiles were a hit with Hasbro, and production began on a bi-monthly four-issue comic book miniseries, and three-part television pilot. Both comic and cartoon would wind up continuing for years beyond these short-term beginnings, using Budiansky's original development work as a springboard to tell the story of the Transformers in very different ways from one another, forming two separate, unrelated continuities for the brand out of the gate.


title: The Transformers (TV series)

text: Japanese designer Shōhei Kohara was responsible for creating the earliest character models for the Transformers cast, greatly humanising the toy designs to create more approachable robot characters for the comic and cartoon. His designs were subsequently simplified by Floro Dery, who went on to become the lead designer for the series, creating many more concepts and designs in the future.


title: The Transformers (TV series)

text: This series focuses on the Transformers, split into two warring factions: the heroic Autobots and the evil Decepticons as they crash land on Earth and continue their eons long conflict there.


title: The Transformers (TV series)

text: The three-part pilot miniseries (retroactively titled "More than Meets the Eye") first aired in the United States in September 1984. The story follows Optimus Prime's heroic Autobots and Megatron's evil Decepticons as they leave their metallic homeworld of Cybertron to search for new sources of energy to revitalize their war efforts, only to crash-land on Earth, where they remain entombed and offline for 4 million years. Awakening in the year of 1984, the Decepticons set about pillaging the energy sources of Earth, while the Autobots—aided by human father and son duo Sparkplug and Spike Witwicky—attempt to protect the new world on which they find themselves. The miniseries concludes with the Decepticons believed dead after their space cruiser is sent plunging into the ocean depths, while the Autobots prepare to return to Cybertron.


title: The Transformers (TV series)

text: The 13-episode first season, commissioned and produced before the pilot miniseries aired, was broadcast between October and December on Saturday mornings. Story-edited at Marvel Productions by Bryce Malek and Dick Robbins, the season begins with the revelation that the Decepticons have survived the events of the pilot and follows them as they set about constructing a "space bridge" to teleport resources back to Cybertron. A loose story arc centered on this technology spans the season, culminating in "The Ultimate Doom", a three-part episode in which the Decepticons teleport Cybertron itself into Earth's orbit. The paraplegic computer expert Chip Chase joins Spike and Sparkplug as a new human ally for the Autobots.


title: The Transformers (TV series)

text: The season also introduced several new characters from the upcoming 1985 product line in advance of their toys' release including Skyfire, the Dinobots, the Insecticons and the first "combiner" team, the Constructicons, who are able to merge into a giant robot, Devastator, whose introduction was set alongside a climactic one-on-one duel between Optimus Prime and Megatron that served as a part of the season finale.


title: The Transformers (TV series)

text: Forty-nine further episodes were commissioned for the show's second season in 1985, bringing the total up to the "magic number" of 65 required to move the series into weekday broadcast syndication. Compared to the first season, Season 2's stories are more episodic, with many of them able to air in whatever order networks chose. Episodes would often spotlight individual characters or groups of characters as a means of promoting their toys and later in the season, the lore of the series would be expanded on as the history of Cybertron and origin of Optimus Prime were discovered and significant cartoon-original characters like Alpha Trion and the first female Transformer characters were introduced. A new recurring human cast member was also added in the form of Spike's girlfriend Carly.


title: The Transformers (TV series)

text: Partway into the season, the remainder of the 1985 product line was introduced, mostly through the two-part episode "Dinobot Island." These new characters, like the first year cast, were largely derived from Takara's "Diaclone" and "Micro Change" lines, including new Autobot car and mini-vehicles and Decepticon jets and the giant Autobot sentinel Omega Supreme and Decepticon "Triple-Changers" Astrotrain and Blitzwing. To expand the line, however, Hasbro also licensed several toys from other companies, including Takara's Japanese competitor, Bandai. Legal complications that arose from incorporating the first of these, Skyfire, into the first season resulted in the character quickly being phased out early in Season 2 and meant that none of the other Bandai-derived characters featured in the series.


title: The Transformers (TV series)

text: Toward the end of the season, the first 1986 product was introduced into the series: the Aerialbots, Stunticons, Protectobots and Combaticons, four combiner teams based on an unmade "Diaclone" line that was aborted in Japan in favor of importing the Transformers toy line itself. To promote these new toys even further in Japanese markets, a single Japanese-exclusive episode, "", was released direct-to-video in spring of 1986.


title: The Transformers (TV series)

text: The gap between seasons two and three was bridged by "", which was released to theaters in the summer of 1986. Set 20 years after the second season, in the year 2005, the film featured the deaths of many characters, including Optimus Prime himself, clearing away all the discontinued product from the 1984 and 1985 toy lines and introduced a new cast of the characters designed for the film, who were then made into toys for the 1986 range. Young Autobot Hot Rod used the power of the Autobot talisman known as the Matrix of Leadership to become the new Autobot leader Rodimus Prime and defeated the world-eating robot planet Unicron who recreates Megatron into Galvatron and any other Decepticons into Scourge, Cyclonus, and the Sweeps.


title: The Transformers (TV series)

text: Season 3 picks up where the movie leaves off, with the Autobots now in control of Cybertron once more, working to restore their homeworld and serving as peacemakers for worlds all across the galaxy. The Decepticons, meanwhile, are in exile on the ruined world of Chaar, led now by Galvatron. Interconnected episodes, running plot threads and small story arcs became more common in the series, including the return of Starscream (following his death in the movie) as a ghost, frequent battles between the giant Autobot and Decepticon cities of Metroplex and Trypticon and the threat to both sides posed by the alien Quintessons, introduced in the movie and revealed in the season's premiere miniseries "Five Faces of Darkness" to be the true creators of the Transformers. This season also saw the debut of three new combiners: the Predacons, the Terrorcons, and the Technobots.


title: The Transformers (TV series)

text: This season saw story-editing duties transfer from Marvel Productions to Sunbow, overseen by Flint Dille, Marv Wolfman and Steve Gerber. Animation for around half the season was provided by producer Nelson Shin's animation studio AKOM, creating a different "look" for the show that encompassed its opening sequence and commercial bumpers.


title: The Transformers (TV series)

text: The death of Optimus Prime proved a controversial move and did not sit well with the viewing audience, resulting in a letter-writing campaign that ultimately compelled Hasbro to resurrect the Autobot leader in a two-part season finale called "The Return of Optimus Prime", which aired in March 1987. Optimus Prime was revived with help from a Quintesson during the threat of the Hate Plague.


title: The Transformers (TV series)

text: The fourth season, consisting of a three-part finale miniseries named "The Rebirth", was broadcast in November 1987. Written by regular series writer David Wise, the Autobots and Decepticons encounter the alien world of Nebulos, where they bond with the native Nebulans to become Headmasters and Targetmasters. The Nebulons led by the evil Lord Zarak were able to transform the animal Decepticons with Scourge and Cyclonus into Headmasters while some of their weapons were transformed into Targetmasters. While Lord Zarak was able to become the Headmaster to his creation Scorponok, Spike Witwicky was able to operate the Headmaster unit so that he can control Fortress Maximus to fight Scorponok. The miniseries concludes with the successful restoration of Cybertron, but the Decepticon threat not yet quashed as Galvatron and Lord Zarak argue over who will rule the galaxy upon their victory over the Autobots.


title: The Transformers (TV series)

text: "The Transformers" did not disappear from American airwaves, as a fifth season aired in 1988. It consisted of reruns of 15 episodes from the original series, along with "The Transformers: The Movie" edited into five episodes. This season featured a new title sequence using footage from previous episodes, the movie, and toy commercials as well as all new framing scenes featuring a human boy named Tommy Kennedy (portrayed by actor Jason Jansen) and a stop-motion/machine prop Optimus Prime puppet.


title: The Transformers (TV series)

text: From 1993 to 1995, select episodes of the series were rebroadcast under the title "". The stories were presented as though they were historical recordings displayed by the "Cybernet Space Cube", which added computer-generated borders and scene-transitions to the original animation.


title: The Transformers (TV series)

text: The story was later continued in Transformers: Generation 2: Redux, a Botcon magazine that is set 22 years after the events of the final episode where the first generation of the Autobots led by Optimus Prime pursue Galvatron and Zarak into deep space and a new generation of Autobots and Decepticons are introduced.


title: The Transformers (TV series)

text: Each of the first three seasons of the series featured its own tailored opening sequence, featuring completely original animation and a unique arrangement of the theme tune. Additionally, the third-season premiere "Five Faces of Darkness" had its own specialized opening, depicting events that occurred in the mini-series. The fourth season, however, did not feature any new animation in its opening sequence, instead combining footage from the third season opening and various clips of animation from 1987 toy commercials; likewise, the fifth season featured commercial animation mixed in with footage from "The Transformers: The Movie". Both used the season three musical arrangement.


title: The Transformers (TV series)

text: The series featured a distinctive scene transition that saw the Autobot and Decepticon symbols "flipping" from one to the other, accompanied by a distinctive five-note refrain. This transition technique became a hallmark of the series, and was used throughout the entire four-year run. Commercial breaks were segued into and out of using commercial bumpers featuring brief eyecatch-styled original animation with a voice over by series narrator Victor Caroli.


title: The Transformers (TV series)

text: A set of five proposed public service announcements were created to be tagged onto the end of episodes from the second season of the series, re-using the scripts from similar PSAs created for sister series "", complete with the catchphrase "...and knowing is half the battle!" These were never actually aired on television, but eventually appeared as bonus features on various DVDs and video games. For the third season, episodes were tagged with "The Secret Files of Teletraan II", a series of short featurettes that used clips from the show and new narration from Caroli to provide histories for the Autobots, the Decepticons, the Quintessons, and other subjects.


title: The Transformers (TV series)

text: In Japan, the first two seasons of the show were collectively released as , then rebranded as for Season 3, with all seasons aired on Nippon TV. Following the conclusion of the third season, the Japanese opted not to import "The Rebirth", but instead created a series of new animated shows to continue the story, beginning with "" in 1987, and continuing into "" in 1988, "" in 1989, and the single-episode direct-to-video OVA "" in 1990. Supplementary manga written by Masami Kaneda and illustrated by Ban Magami ran alongside each series in Kodansha's TV Magazine.


title: The Transformers (TV series)

text: In the 1980s, episodes from the first and second seasons as well as the third season's "Five Faces of Darkness" and "Return of Optimus Prime" were released on VHS and Betamax by Family Home Entertainment.


title: The Transformers (TV series)

text: Between 1995 - 1999, Canadian home entertainment company Malofilm (later renamed as Behaviour Distribution) released several episodes of the series on VHS, and some under the "" name. None of the Malofilm VHS cover art was specifically related to the contents of the episodes either, as they were all various segments of promotional art related to the 1986 animated feature "The Transformers: The Movie".


title: The Transformers (TV series)

text: Seasons 1–4 were released on DVD in the U.S. by Rhino Entertainment Company/Kid Rhino Entertainment (under its "Rhinomation" classic animation entertainment brand) (a subsidiary of AOL Time Warner) (a division of Warner Music Group) between April 23, 2002, and March 9, 2004. Due to missing 35mm film stock, some sections of the Rhino Entertainment release use earlier incomplete animation, often introducing errors, such as mis-colored Decepticon jets, Skyfire colored like Skywarp, missing laser blasts, or a confusing sequence where Megatron, equipped with Skywarp's teleportation power, teleports but does not actually disappear. This version also added extra sound effects that were presented in the remixed 5.1 surround soundtrack and later remixed 2.0 stereo soundtrack, but not present in the original broadcast version.


title: The Transformers (TV series)

text: In 2005, Rhino lost the rights to distribute "Transformers" on DVD. The license was subsequently acquired by Sony Wonder (a division of Sony BMG). Sony Wonder announced in October 2006 that they would re-release the first season of the series in 2007, with the other seasons presumably following. In June 2007, Sony BMG dissolved Sony Wonder and moved the label to Sony Pictures Home Entertainment, without releasing any DVD sets.


title: The Transformers (TV series)

text: In March 2009, Shout! Factory announced that they had acquired the license from Hasbro to release "Transformers" on DVD in Region 1 with Vivendi Entertainment. They subsequently released "The Complete First Season" on June 16, 2009. "Season Two Volume One" was released on September 15, 2009. "Season Two Volume Two" was released on January 12, 2010. "Seasons Three and Four" was released together in one set on April 20, 2010. These releases corrected most of the newly introduced Rhino animation errors, but this was necessarily accomplished by using lower quality sources taken from the original broadcast master tapes. Rhino's added sound effects were discarded in favor of a sound mix more faithful to the original mono audio.


title: The Transformers (TV series)

text: On October 20, 2009, Shout! Factory released the complete series in a box set for the first time in Region 1. This set, dubbed "Transformers: The Complete Series - The Matrix of Leadership Collector's Set", features all 98 remastered episodes along with all new bonus features.


title: The Transformers (TV series)

text: Maverick released Season 1 in the U.K. in 2001. Three individual volumes were released (though the episodes are in the wrong order), a box set of the three disks, which included a fourth disk containing bonus features, and one volume of "Transformers: Generation 2" with five episodes that had the Cybernetic Space Cube graphics added. They also released a volume of "Transformers: Takara", which included the first six episodes of the Asian English dub of "".


title: The Transformers (TV series)

text: Metrodome Distribution released Seasons 1–4 in the U.K. between November 17, 2003, and October 11, 2004. Their first release was a budget-range DVD of the Transformers movie, released through Prism Leisure. The seasons were released in four box sets: Season 1, Season 2 Part 1, Season 2 Part 2 and Seasons 3–4. Notably, Season 2 was released first by Metrodome because Season 1 had been released by Maverick. Metrodome's releases use the remastered production masters, which originated with the Rhino release of the series (and contain all the inherent errors). Additionally, they include Magno Sound & Video's 5.1 audio (with added sound effects), but use a modified version of their 2.0 track.


title: The Transformers (TV series)

text: Madman Entertainment released the four seasons in six box sets in Australia and New Zealand (Region 4): Season 1, Season 2.1, Season 2.2, Season 3.1, Season 3.2 and Season 4.


title: The Transformers (TV series)

text: They later released the remastered Shout! Factory version of "Transformers" in the same volume arrangement as the American release. In 2007, Madman Entertainment released a 17-disc complete collection box set.


title: The Transformers (TV series)

text: A collector's tin box set was released in Asia by Guangdong Qianhe Audio & Video Communication Co., Ltd. under license by Pexlan International (Picture) Limited. The set includes the entire series, "", a set of full color postcards, a rubber keychain, and a full color book (graphic novel style) that serves as an episode guide. While the book is almost entirely in Mandarin, the chapter menus contain English translations for each episode. The set is coded as Region 1.


title: The Transformers (TV series)

text: In July 2009, "Transformers G1 Season 1" (25th Anniversary Edition) was made available for digital download via the PlayStation Network's video store in the United States for $1.99 per episode.


title: The Transformers (TV series)

text: On October 10, 2010, The Hub (formerly Discovery Kids, later Discovery Family on October 13, 2014) started airing the original episodes of the "Transformers G1" series on the network (alongside "" and "").


title: Fortnite: Save the World

text: Fortnite: Save the World is a cooperative hybrid-third-person shooter tower defense survival video game developed and published by Epic Games. The game was released as a paid-for early access title for Microsoft Windows, macOS, PlayStation 4 and Xbox One on July 25, 2017, with plans for a full free-to-play release announced in late 2018. Epic eventually opted to move the game to pay-to-play in June 2020. The retail versions of the game were published by Gearbox Software, while online distribution of the PC versions is handled by Epic's launcher.


title: Fortnite: Save the World

text: "Fortnite" is set on contemporary Earth, where the sudden appearance of a worldwide storm causes 98% of the world's population to disappear, and zombie-like creatures rise 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 different 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.


title: Fortnite: Save the World

text: The game is supported through microtransactions to purchase in-game loot boxes that can be used towards these upgrades. A standalone battle royale game version, "Fortnite Battle Royale", was released for the same platforms in September 2017. Following the release, the player-versus-environment mode was officially distinguished as "Save the World".


title: Fortnite: Save the World

text: One day, 98% of Earth's human population suddenly disappeared, and the remaining humans 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.


title: Fortnite: Save the World

text: "Fortnite" provides three distinct product gameplay modes: access to "Fortnite Battle Royale" and "Fortnite Creative" (which are available as a separate free-to-play titles) and the paid-for cooperative player-versus-environment "Save the World", which is unique to the main "Fortnite" game.


title: Fortnite: Save the World

text: "Fortnite: Save the World" is described as a unique blend of sandbox survival co-op lite RPG tower defense game, and is an amalgamation of player progression, exploration, scavenging items, sharing scarce resources, crafting weapons, building fortified structures, and fighting waves of encroaching monsters. Tim Sweeney, Epic's founder, described the game as ""Minecraft" meets "Left 4 Dead"". The game plays in a third-person perspective and 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.


title: Fortnite: Save the World

text: Players can review their current story progress and quests, which can include daily, weekly, side, challenge and event quests, which when completed provide in-game currency or resources.


title: Fortnite: Save the World

text: "Fortnite: Save the World" offers 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.


title: Fortnite: Save the World

text: Missions are 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 can select a special "play with others" option that automatically matches them with players at a similar power level and story progression on a random mission for added rewards.


title: Fortnite: Save the World

text: 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 the 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.


title: Fortnite: Save the World

text: Most missions take place on procedurally-generated landscapes. Most missions are based on locating sites 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.


title: Fortnite: Save the World

text: One unique mission type is Storm Shield Defense (SSD) 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 build out the fortification and traps, or add resources to a special storage area for this map. Successfully completing SSD-missions unlocks "Endurance Mode" which allows players to test theirs skills and builds against an increasingly difficult and unending siege on their base.


title: Fortnite: Save the World

text: The player has a roster of hero characters, defender characters, and support characters (called Survivors). Hero characters represent characters from one of four classes that the player can use while on a 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 (called "Survivors", who must be rescued ingame) 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.


title: Fortnite: Save the World

text: The player can spend commander upgrade skill points, earned by completing missions, and technology research points, earned over time, to unlock new base support skills, gadgets and tools. 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 the commander rating, their survivor 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.


title: Fortnite: Save the World

text: The player has an itemization inventory of weapon and trap schematics, along with collected resources. The crafting schematics are used to construct weapons and traps when on the field. The player can spend different types of experience points and resources earned as mission rewards to level up and evolve schematics and characters. For weapons and traps, this generally boosts their effectiveness as well as unlocking additional attribute "perk" bonuses, while leveling up hero characters will increase stats and 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 anyone 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.


title: Fortnite: Save the World

text: The player has access to a complete gallery of all Fortnite cosmetic items across all gameplay modes, featuring outfits, back bling, and harvesting tools. The player can spend real-world currency and/or different types of in-game currency, experience points and resources earned as mission rewards, from loot boxes (represented as llama pinatas), or other resources to level up and evolve schematics and characters.


title: Fortnite: Save the World

text: Heroes in the player's locker have different power levels and abilities which can be increased either by upgrading them or by enhancing their support team with Survivor XP or Hero XP. The upgrades, however, are locked until certain quests are completed, such as the Storm Shield Defense missions. Heroes also come in different rarities, but unlike the Battle Royale counterpart, the rarity of a hero can be upgraded further using Hero XP and other account resources such as Epic or Legendary Flux that can be obtained either from the weekly shop, or by completing some missions.


title: Fortnite: Save the World

text: Although most cosmetics earned in Fortnite: Battle Royale can be used in Fortnite: Save The World, there are some that cannot. These include all gliders, all contrails, and some backblings. Reactivity for some backblings may not work in Save The World either. Epic Games has sparked some controversy among players when a Save The World exclusive hero (Metal Team Leader) was made available in the Fortnite Battle Royale item shop as a skin. Some players felt ripped off by Epic Games' decision as they've already purchased the item in Save The World which was taunted to be rare.


title: Fortnite: Save the World

text: "Fortnite" was revealed at the 2011 Spike Video Game Awards (VGA), with Epic's former design director Cliff Bleszinski introducing a trailer for the game. 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". The title, which started out as an internal game jam project following the completion of "Gears of War 3", represents a departure from the company's previous work. 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." 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." At the time of its creation, producer Roger Collum said that the game grew out of taking two popular genres: building games like "Minecraft" and "Terraria", and shooting games like "Gears of War" to make something novel, comparing it to making peanut butter cups out of peanut butter and chocolate. When they showed this approach to other developers, they found that the concept was an idea that others had had but never worked towards any final product, and from that knew they had something with potential to build on.


title: Fortnite: Save the World

text: 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. 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. 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 manufacturers. Bleszinski later clarified that they would not rule out release on other platforms as they developed the title.


title: Fortnite: Save the World

text: "Fortnite"s development was spread among several of Epic's satellite studios, 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. By March 2014, there were about 90 developers working on the game. 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.


title: Fortnite: Save the World

text: "Fortnite"s early development hit a number of roadblocks. First, Epic began using "Fortnite" as the testing ground for the new Unreal Engine 4, which slowed some development. A further factor was recognizing that to maintain interest in the game, it needed to have deep systems for player progression and itemization, similar to computer role-playing games. They reached out and brought in system designers from popular massively multiplayer online games, including Darren Sugg, to gain input on how to create these types of systems. A culminating issue in the slowdown was the investment from Tencent in Epic Games in 2012, which transitioned a number of high-level executives, including Bleszinski, out of the company. Epic had recognized they needed to prepare for offering games that followed the games as a service model. Tencent had excelled at this in China, and agreed to help Epic in exchange for significant ownership in Epic. Epic chose to use "Fortnite" as the spearhead for Epic's games-as-a-service model which created additional road bumps, according to Mustard. Further, with the transition of executives, new leadership was needed to take over for "Fortnite"s development team. Sugg, for example, had been discussing the various game systems in depth with Bleszinski, who otherwise was leading the design. With Bleszinski's departure, Sugg had to take over as lead design to try to continue the vision that Bleszinski's team had. Rod Fergusson, who had left Epic after Tencent's investment in 2012, stated that if he had stayed on with Epic, he would likely have cancelled "Fortnite" by this point.


title: Fortnite: Save the World

text: At the same time, Epic made several decisions on gameplay that felt established the basis of "Fortnite". Initially when players placed walls and other fortifications, they would have had players complete a mini-game to complete the construction. They found that the game was more successful when these fortifications built themselves, allowing players to create forts quickly, and kept this approach. They were also able to bring in various game modes that had been envisioned in "Gears of War 3", but which then were limited by the game's engine. The dynamic nature of the game world due to players' fortifications and de-construction required them to come up with an artificial intelligence pathfinding solution for the enemies. Epic considered they were trying to build a toolkit for players to interact with as to create emergent gameplay solutions based on the situation of the missions, from which they can continue to expand upon with new items throughout the life of the game.


title: Fortnite: Save the World

text: By November 2013, Epic confirmed that "Fortnite" would not release that year, nor offered a target released date, though affirmed the game was still in development by several of its studios. 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 period was due to "very good reasons." "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.


title: Fortnite: Save the World

text: By 2014, "Fortnite" was at a "pretty functional prototype" with most of the Unreal 4 engine elements smoothed out, according to Mustard. 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. To help support development and get player feedback, Epic used a series of closed alpha test periods. The game's first closed alpha, called Online Test 1, ran from December 2 to 19, 2014, while Online Test 2 ran from March 24 to April 14, 2015. 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." After being demoed at WWDC 2015 on Mac, "Fortnite" entered closed beta testing in the fall of 2015. Approximately 50,000 players participated in these periods.


title: Fortnite: Save the World

text: "Fortnite" was being developed alongside "Paragon", which Epic announced in 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."


title: Fortnite: Save the World

text: By June 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; players who pre-ordered Founder's Packs were granted access to the game on July 21. 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 had been in a playable state for the two years before this, 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 the approach used by games like "League of Legends" and "Warframe". Since the game had already been announced earlier in 2014 through "Game Informer", Epic opted not to use their Electronic Entertainment Expo time or space in June 2017 to re-announce the game, fearing that coverage of it would be lost in the deluge of other gaming news coming out of the event. Instead, the Epic marketing team worked with Twitch and other game streamers to provide them early copies of the game to play and promote on their channels in the weeks leading up to their target release date of July 25, 2017. However, a few weeks before this date, Epic recognized that the game was still not ready for release; it was playable but not content complete. Rather than prolonging it further, Epic decided to release the game into paid early access on July 25, 2017, which would also allow them to get active feedback on the game as they progressed in development. At the time of the start of early access, Gearbox Software helped distribute the game on physical media.


title: Fortnite: Save the World

text: With the popularity of "Fortnite Battle Royale", which was first released in early access around September 2017 and gained considerable attention by early 2018, Epic split off a separate development team to focus on improvements for this mode. 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". By the end of January 2018, Epic announced it was shutting down "Paragon" by April of that year, providing refunds to all players. 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. Epic's Ed Zobrist said that as of March 2018 that the retention rates for "Save the World" have been high, and have grown since the release of "Fortnite Battle Royale", and the company has since improved communications with the player base, such as providing development road maps and known bug lists.


title: Fortnite: Save the World

text: In October 2018, Epic announced that the game's free-to-play release would not happen until at least 2019, which was done in order to make sure that it would ready to accommodate large groups of new players. A significant patch for the game to be released in November 2018 aims to rework much of the game's metagame interfaces, providing some automation and helpful advice through newly introduced characters for hero outfitting, survivor squads, and other activities. A change in its loot box system was made in January 2019, which allowed players to know what items they would get from the "loot llamas" purchased via the in-game store, similar to an x-ray; contents of such loot llamas will be randomized on a daily basis.


title: Fortnite: Save the World

text: On June 29, 2020, Epic announced that they had decided to end "Save the World"s early access period and make it a full release, but at the same time abandoning the original free-to-play plans and keeping the game a premium title. With this change, they were no longer able to continue to support common shared items between the "Save the World" and "Battle Royale" modes of "Fortnite". With this, Epic planned to include Ventures, season-long events to give players new challenges in the "Save the World" mode alongside recurring annual events. Long-term players of the "Save the World" mode criticized Epic for this change; they had long seen the mode receive less care than "Fortnite Battle Royale" with many features that had been planned now dropped, and that the game's campaign that was to have had taken place over four major acts was effectively only 75% complete and appeared to be no longer a priority. A campaign hashtag "#SaveSaveTheWorld" grew among both these players as well as sympathetic "Fortnite Battle Royale" players to try to convince Epic to put more development resources into this mode.


title: Fortnite: Save the World

text: In their initial prototypes of the game, Epic had used creepier and darker designs for the husks and other enemies, and many of the elements of the settings were assets pulled from both "Gears of War" and "Unreal" series, which further created a dark, depressing environment. 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, without competing with games like "DayZ". They used works from Pixar, Tim Burton, and Looney Tunes as inspiration for the designs.


title: Fortnite: Save the World

text: "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. 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.


title: Fortnite: Save the World

text: Epic 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".


title: Fortnite: Save the World

text: On July 26, 2017, it was announced that "Fortnite" had sold over 500,000 digital pre-order copies. On August 18, 2017, Epic confirmed that "Fortnite" had surpassed over a million players.


title: Fortnite: Save the World

text: Following the addition of x-ray loot boxes in February 2019, Epic Games was the subject of a class-action lawsuit claiming that its former model for loot boxes was predatory because they did not report the odds which rare items would appear in these boxes. Epic offered to settle the case in February 2021, in addition to retaining about to substantiated claims from members of the class particularly to minors affected by the case, by also crediting all players of "Save the World" with 1,000 V-bucks (about $8 equivalent), with Epic's lawyers stating "it’s the right thing to do and we feel strongly about random item loot boxes".


title: Oasis

text: In ecology, an oasis (; ) is a fertile area of a desert or semi-desert environment that sustains plant life and provides habitat for animals. Surface water may be present, or water may only be accessible from wells or underground channels created by humans. In geography, an oasis may be a current or past rest stop on a transportation route, or less-than-verdant location that nonetheless provides access to underground water through deep wells created and maintained by humans.


title: Oasis

text: The word "oasis" came into English from , from , , which in turn is a direct borrowing from Demotic Egyptian. The word for "oasis" in the latter-attested Coptic language (the descendant of Demotic Egyptian) is "wahe" or "ouahe" which means a "dwelling place". Oasis in Arabic is "al-wāḥat" ( واحه ).


title: Oasis

text: Oases develop in “hydrologically favored” locations that have attributes such as a high water table, seasonal lakes, or blockaded wadis. Oases are made when sources of freshwater, such as underground rivers or aquifers, irrigate the surface naturally or via man-made wells. The presence of water on the surface or underground is necessary and the local or regional management of this essential resource is strategic, but not sufficient to create such areas: continuous human work and know-how (a technical and social culture) are essential to maintain such ecosystems. Stereotypically, an oasis has a “central pool of open water surrounded by a ring of water-dependent shrubs and trees…which are in turn encircled by an outlying transition zone to desert plants.”


title: Oasis

text: Rain showers provide subterranean water to sustain natural oases, such as the Tuat. Substrata of impermeable rock and stone can trap water and retain it in pockets, or on long faulting subsurface ridges or volcanic dikes water can collect and percolate to the surface. Any incidence of water is then used by migrating birds, which also pass seeds with their droppings which will grow at the water's edge forming an oasis. It can also be used to plant crops.


title: Oasis

text: Oases in the Middle East and North Africa cover about , however, they support the livelihood of about 10 million inhabitants. The stark ratio of oasis to desert land in the world means that the oasis ecosystem is “relatively minute, rare and precious.”


title: Oasis

text: There are 90 “major oases” within the Sahara Desert. Some of their fertility may derive from irrigation systems called "foggaras", "khettaras," "lkhttarts", or a variety of other regional names"."


title: Oasis

text: In some oases systems, there is “a geometrical system of raised channels that release controlled amounts of the water into individual plots, soaking the soil.”