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Kora (instrument)
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Kora
String instrument
Classification
West African stringed instrument with 21 strings
Hornbostel–Sachs classification
323-5
(Composite chordophone sounded by the bare fingers)
Developed
16th century
Playing range
Traditional range of the kora
Related instruments
harp, gravi-kora, seperewa
Musicians
Toumani Diabaté, Ballaké Sissoko, Foday Musa Suso, Seckou Keita, Toubab Krewe, Jacques Burtin, Alhaji Bai Konte and sons Dembo and Sherrifo
Kora
Song played by Toumani Diabaté on the kora instrument
Problems playing this file? See media help.
The kora is a 21-string lute-bridge-harp used extensively in West Africa.[1]
Contents
[hide]
1 Description
2 History
3 Scores
4 Bibliography
5 Selected discography
5.1 African composers (oral tradition)
5.2 Western composers (written music)
6 Notable kora players
7 See also
8 References
9 External links
Description[edit]
A kora is a Mandinka harp built from a large calabash cut in half and covered with cow skin to make a resonator with a long hardwood neck. The skin is supported by two handles that run under it. It supports a notched double free-standing bridge. It doesn't fit into any one category of musical instruments, but rather several, and must be classified as a "double-bridge-harp-lute". The strings run in two divided ranks, making it a double harp. They do not end in a soundboard but are held in notches on a bridge, making it a bridge harp. They originate from a string arm or neck and cross a bridge directly supported by a resonating chamber, making it a lute too.
The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and Delta blues guitar techniques of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings). Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players.
Kora players have traditionally come from griot families (also from the Mandinka nationalities) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. The instrument is played in Guinea, Guinea-Bissau, Mali, Senegal, Burkina Faso and the Gambia. A traditional kora player is called a Jali, similar to a "bard" or oral historian. Most West African musicians prefer the term "jali" to "griot", which is the French word.
Traditional koras feature 21 strings, eleven played by the left hand and ten by the right. Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21. Strings were traditionally made from thin strips of hide, for example antelope skin - now most strings are made from harp strings or nylon fishing line, sometimes plaited together to create thicker strings.
A vital accessory in the past was the nyenyemo, a leaf-shaped plate of tin or brass with wire loops threaded around the edge. Clamped to the bridge, it produced sympathetic sounds, serving as an amplifier since the sound carried well in the open air. In today's environment players usually prefer or need an electric pickup. [2]
By moving leather tuning rings up and down the neck, a kora player can retune the instrument into one of four seven-note scales. These scales are close in tuning to western major, minor and Lydian modes.[3][4]
History[edit]
Ibn Battuta did mention that the women who accompanied Dugha to perform were carrying bows that they plucked. He didn't mention the number of strings, but this clearly shows the existence of harp instruments in 14th century Mali and could be the earliest written reference to the kora. The kora is designed like a bow with a gourd but Ibn Battuta did not go into detail about these instruments. The earliest European reference to the kora in Western literature is in Travels in Interior Districts of Africa (1799) by the Scottish Mungo Park. The most likely scenario, based on Mandinka oral tradition, suggests that the origins of the kora may ultimately be linked with Jali Mady Fouling Cissoko, some time after the founding of Kaabu in the 16th century.[5]
The kora is mentioned in the Senegalese national anthem "Pincez Tous vos Koras, Frappez les Balafons".
Nowadays, increasingly, koras are made with guitar machine heads instead of the traditional leather rings. The advantage is that they are much easier to tune. The disadvantage is that this design limits the pitch of the instrument because string lengths are more fixed and lighter strings are needed to lift it much more than a tone. Learning to tune a traditional kora is arguably as difficult as learning to play it, and many tourists who are entranced by the sound while in West Africa buy koras and then find themselves unable to keep it in tune once they are home, relegating it to the status of ornament. Koras can be converted to replace the leather rings with machine heads. Wooden pegs and harp pegs are also used, but both can still cause tuning problems in damper climates unless made with great skill.
The Gravi-kora
In the late 20th century, a 25-string model of the kora was developed, though it has been adopted by only a few players, primarily in the region of Casamance, in southern Senegal. Some kora players such as Seckou Keita have double necked koras, allowing them to switch from one tuning to another within seconds, giving them increased flexibility.
The French Benedictine monks of the Keur Moussa Abbey in Senegal (who possibly were the first to introduce guitar machine heads instead of leather rings in the late seventies) conceived a method based on scores to teach the instrument. Brother Dominique Catta, choirmaster of the Keur Moussa Abbey,[6] was the first Western composer who wrote for the kora (solo pieces as well as duets with Western instruments).[7]
An electric instrument modeled on the kora (but made primarily of metal) called the gravikord was invented in the late 20th century by instrument builder and musician Robert Grawi. It has 24 strings but is tuned and played differently than the kora. Another instrument, the Gravi-kora, a 21 string electro-acoustic instrument, was later developed by Robert Grawi especially for kora players who wanted a modern instrument. Its playing and tuning are the same as the traditional kora.[8] The gravi-kora has been adopted by kora players such as Daniel Berkman,[9] Jacques Burtin,[10] and Foday Musa Suso, who featured it in recordings with jazz innovator Herbie Hancock,[11] with his band Mandingo, and on Suso's New World Power album.[12]
Scores[edit]
Kora sheet music (fragment of the score of One Thousand Sources, for solo kora, by Jacques Burtin).
The kora music being part of the oral tradition, its music was not written until the 20th century. The ethnomusicologists were the only ones to note some traditional airs in the normal grand staff method using the G clef and the F clef.
Nowadays, kora scores are written on a single G clef, following the Keur Moussa notation system. This notation system was created for the kora in the late 1970s by Brother Dominique Catta, a monk of the Keur Moussa Monastery (Senegal). The seven low notes that should be written on the F clef are replaced by Arabic or Roman numerals and written on the G clef.
While griots still compose in the traditional way (without writing scores), some Western musicians began to write partitures for the kora and adopted the Keur Moussa notation system at the beginning of the 1980s. More than 200 scores have already been written for kora solo or kora and Western instruments. Two notable Western composers for the kora are Brother Dominique Catta[13] and Jacques Burtin[14] (France), who wrote most of these scores, though composers like Carole Ouellet[15] (Canada), Brother Grégoire Philippe[16] (Monastère de Keur Moussa) and Sister Claire Marie Ledoux[17] (France) contributed with original works.
Derek Gripper (Cape Town, South Africa) has transcribed a number of West African kora compositions, by Toumani Diabaté and others, for performance on western-style classical guitar, and has performed some of these transcriptions on two recordings and in concert from 2012 through the present (2017).[18]
Bibliography[edit]
Eric Charry, Mande Music : Traditional and Modern Music of the Maninka and Mandinka of Western Africa, University of Chicago Press, 2000.
Ousmane Sow Huchard, La kora : objet-témoin de la civilisation manding : essai d'analyse organologique d'une harpe-luth africaine, Presses universitaires de Dakar, Dakar, 2000.
Selected discography[edit]
African composers (oral tradition)[edit]
Mali: cordes anciennes ("Mali: Ancient Strings"), Sidiki Diabaté and Djelimadi Sissoko, Buda Music, 2000. First published in 1970, this CD was the first album totally devoted to the kora. Sidiki Diabaté was the father of Toumani Diabaté, and Djelimadi Sissoko was the father of Ballaké Sissoko. They both recorded New Ancient Strings - Nouvelles Cordes Anciennes in 1999 (Hannibal), as a tribute to their fathers.
Gambie : l'art de la kora, Jali Nyama Suso, edited by Roderic Knight, Ocora, 1996. First published in 1972, this CD is also a historical recording.
Jali Kunda - Griots of West Africa & Beyond, Ellipsis Arts, 1996. A book and a CD edited by Foday Musa Suso, produced by Bill Laswell. Photographs by Daniel Lainé. A journey through traditional kora music and three original meetings: kora and piano ("Spring Waterfall" by Foday Musa Suso and Philip Glass); kora and synthesizers ("Lanmbasy Dub'", with Bill Laswell, bass, and Jeff Bova, synthesizers); kora and saxophone ("Samma", a duet with jazz saxophonist Pharoah Sanders).
The Mandé Variations, Toumani Diabaté, World Circuit, 2008. Twenty years after his first CD, Kaira (Hannibal, 1988) - the first CD ever recorded with solo kora pieces without any song, Toumani Diabate alternates traditional pieces on a kora with leather rings and his own creations with a special tuning on a kora with wooden pegs.
Western composers (written music)[edit]
Quand renaît le matin, Abbaye de Keur Moussa, Art et Musique, 2007. First published in 1991, this album gathers pieces composed and performed by Brother Dominique Catta and Carole Ouellet: solo kora pieces, songs with kora accompaniment and a Concerto for flute and three koras. There is also a piece composed by Brother Grégoire for three koras differently tuned played by one musician.
Le Jour des Merveilles, Jacques Burtin, 3-CD Box Set, Bayard Musique, 2009. Pieces for solo kora, duets with cello, viola, guitar and koto, suites for flute, guitar and three koras.
Notable kora players[edit]
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Main page: Category: Kora players
Master kora-maker Alieu Suso of the Gambia
Toumani Diabaté (Mali)[19]
Sekou Kouyate (Guinea)
Soriba Kouyate (Senegal)
Carlinhos Antunes (Brazil)
Sidiki Diabaté (Mali)
Mamadou Sidiki Diabaté (Mali)
Prince Diabaté (Guinea, France, United States)
Amadou Bansang Jobarteh (Gambia)
Foday Musa Suso (Gambia, United States), recorded with Herbie Hancock
Jali Nyama Suso (Gambia)
Ablaye Cissoko (Senegal)[20][21]
Lamine Cissokho (Senegal, Sweden, Austria)
Lamin Kuyateh (Gambia)
Tasana Camara (Guinea)[22]
Lankandia Cissoko (Senegal)[23]
Zoumana Diarra (Mali)[24]
Mamadou Diabaté (Mali)
Djeli Moussa Diawara also known as Jali Musa Jawara (Guinea, now playing a 32-stringed Kora)
Tunde Jegede (Nigeria/United Kingdom)
Sona Jobarteh (Gambia/United Kingdom, female kora player)
Sanjally Jobarteh (Gambia/Norway)
Seckou Keita (United Kingdom)[25]
Adam Doughty (United Kingdom) [26]
Josh Doughty (United Kingdom)
Bai Konte (Gambia)
Djimo Kouyate (Senegal, 1946–2004)
Kadialy Kouyaté (Senegal/UK)
Kandia Kouyaté (Mali)
Moussa Kouyate (Mali)
N'Faly Kouyate (Guinea)
Toumany Kouyate (Senegal) - singer and musician for O (Cirque du Soleil) in Las Vegas.
Jaliba Kuyateh (Gambia)
Ida Verstraten (Netherlands)[27]
Jacques Burtin (France)[28]
Kurtis Lamkin (United States)
Brother Dominique Catta (France, Senegal)[29]
Chris Marolf (United States)
Kane Mathis (United States)[30]
Sean Gaskell (United States)[31]
Alagi Mbye (Gambia)[32]
William Parker (United States)
Justin Perkins (United States)
Gabriel Bass (United States)
Lamin Saho (Gambia)[33]
Ballaké Sissoko (Mali)
Mansour Seck (Senegal)
Youssoupha Sidibe (Senegal)
Yerko Fuenzalida (Chile)[34]
Mamadou Susso (Gambia)
Papa Susso (Gambia)
Daniel Berkman (United States)[35]
Yann Tambour (as Thee Stranded Horse, Isle of Sark)[36]
David Gilden (United States)[37]
John Hughes (United States)[38]
José Galissa (Portugal)
See also[edit]
Banjo
Griot
Gravi-kora
Mandinka people
Music of Africa
Polyrhythm
References[edit]
Jump up ^ http://asza.com
Jump up ^ http://www.oxfordmusiconline.com/subscriber/article/grove/music/15371?q=kora&search=quick&pos=1&_start=1#firsthit
Jump up ^ http://www.coraconnection.com/
Jump up ^ http://www.thekoraworkshop.co.uk/
Jump up ^ [1]
Jump up ^ Keur Moussa web site
Jump up ^ Lumière Radieuse - Keur Moussa, Art et Musique, 2007; Sénégal, Messe & Chants Au Monastère De Keur Moussa, Arion, 2010.
Jump up ^ The gravi-kora in the Gravikord web site : http://www.gravikord.com/instrument.html#gravikord
Jump up ^ Calabash Moon, Magnatune, 2005 ; Heartstrings, Magnatune, 2009. Video (Daniel Berkman on Gravikord, 1998)
Jump up ^ Le Chant de la Forêt (The Song of the Forest), suite for kora, gravi-kora, flute and viola, Bayard Musique, 2008. Video (Gravi-kora improvisation by Jacques Burtin, 2010)
Jump up ^ Village Life, Columbia, 1985 ; Jazz Africa, Polydor, 1987.
Jump up ^ New World Power, produced by Bill Laswell and Foday Musa Suso, Island Records, 1990.
Jump up ^ Selected scores of Brother Dominique Catta : Banehu Len, Suite n°1 for koras, 1983 ; Fleuves d'Eau Vive, Suite n°2 for koras and chant, 1986; Du Désert, d'ici et d'ailleurs, Airs de kora, 1988 ; Banehu Len II, Suite n°3 for kora and flute, 1990 ; Psautier rythmé de Keur Moussa, 150 Psalms with kora accompaniment, 1996 (all scores published by the Keur Moussa Monastery). The influential Méthode progressive pour airs de kora (Progressive Method for kora learning), by Brother Dominique Catta, was published in 1987 by the Monastery Keur Moussa.
Jump up ^ Selected scores of Jacques Burtin : Une Rosée de Lumière, Nine pieces for kora, Monastère de Keur Moussa, 1988; Le Chant intérieur / The Inner Song, Pieces and suites for kora, Editions Studio SM, Paris, 1996 ; Joies soudaines, Works for kora 1988-2010, Marie-Chantal Froment Editor, Le Mans, 2010
Jump up ^ Four scores of Carole Ouellet have been published in Du Désert, d'ici et d'ailleurs (Monastère de Keur Moussa, 1988). Her other compositions have been recorded along with Brother Catta's works. See discography.
Jump up ^ Quand renaît le matin, Prelude for 3 koras and a kora player, by Brother Grégoire Philippe, has been published in 1991 by the Monastery of Keur Moussa.
Jump up ^ Sister Claire Marie Ledoux composed pieces for solo kora and songs accompanied by the kora. They can be heard in the CD Une Rosée de Lumière - Saint François et Sainte Claire d'Assise, by Jacques Burtin and Sister Claire Marie Ledoux, Studio SM, 1997.
Jump up ^ "Derek Gripper: Solo Acoustic Guitarist - African and Contemporary - Composer and Performer". Derek Gripper. 2017. Retrieved 24 September 2017.
Jump up ^ Toumani Diabate web site "Archived copy". Archived from the original on 2011-02-07. Retrieved 2011-01-31. - Video (Toumani Diabate playing Cantelowes at El Real Acazar, Sevilla, Spain)
Jump up ^ [2]
Jump up ^ [3]
Jump up ^ [4]
Jump up ^ [5]
Jump up ^ http://www.zoudiarra.com/index_uk.php?land=engels
Jump up ^ [6]
Jump up ^ [7]
Jump up ^ http://www.korafola.com
Jump up ^ Jacques Burtin web site [8] - Video (Jacques Burtin playing Ballade de l'île d'Yeu)
Jump up ^ [9]
Jump up ^ [10]
Jump up ^ [11]
Jump up ^ [12]
Jump up ^ [13]
Jump up ^ [14]
Jump up ^ Daniel Berkman web site
Jump up ^ fr:Yann Tambour
Jump up ^ [15]
Jump up ^ [16]
External links[edit]
Wikimedia Commons has media related to Kora.
Cora Connection
Kora Music
Kumbengo Koras, Makers of Fine Koras Combining Traditional Techniques and Innovative Design
The Kora Workshop
History of the 'Keur Moussa' kora
A history of the Kora, with an overview of its current practices, by Jacques Burtin (text in French):
The Webpage of Dennis Havlena contains a number of construction articles for Koras and accessories
KORA Manding Harps (Kora Luthier. African harps sales)
Authority control
GND: 4165292-7
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The Deserted Village
From Wikipedia, the free encyclopedia
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This article is about a poem by Oliver Goldsmith. For deserted settlements in general, see abandoned village.
Title page of the first edition
The Deserted Village is a poem by Oliver Goldsmith published in 1770. It is a work of social commentary, and condemns rural depopulation and the pursuit of excessive wealth.
The location of the poem's deserted village is unknown, but the description may have been influenced by Goldsmith's memory of his childhood in rural Ireland, and his travels around England. The poem is written in heroic couplets, and describes the decline of a village and the emigration of many of its residents to America. In the poem, Goldsmith criticises rural depopulation, the moral corruption found in towns, consumerism, enclosure, landscape gardening, avarice, and the pursuit of wealth from international trade. The poem employs, in the words of one critic, "deliberately precise obscurity", and does not reveal the reason why the village has been deserted. The poem was very popular in the eighteenth and nineteenth centuries, but also provoked critical responses, including from other poets such as George Crabbe. References to the poem, and particularly its ominous "Ill fares the land" warning, have appeared in a number of other contexts.
Contents
[hide]
1 Background
2 Analysis
2.1 Synopsis
2.2 Genre, prosody and influences
2.3 Social commentary
3 Publication history
3.1 Illustrations and other artwork
4 Critical reception
4.1 Eighteenth-century reception
4.2 Later reception
4.3 Cultural references
5 Notes and references
5.1 Notes
5.2 References
5.2.1 Books
5.2.2 Articles
6 External links
Background[edit]
Oliver Goldsmith by Sir Joshua Reynolds (c. 1770)
Goldsmith grew up in the hamlet of Lissoy in Ireland.[1] In the 1760s, Goldsmith travelled extensively around England, visiting many small settlements.[2] In this period, the enclosure movement was at its height.[3]
The poem is dedicated to the artist Sir Joshua Reynolds. Reynolds and Goldsmith were close friends, and were both founding members, along with Samuel Johnson, of a dining society called The Club. Reynolds had helped to promote Goldsmith's play The Good-Natur'd Man to the actor and theatre manager David Garrick, and had facilitated Goldsmith's appointment as the historian of the Royal Academy.[1]
The Deserted Village condemns rural depopulation and the indulgence of the rich. This was a subject that Goldsmith had tackled in his earlier poem The Traveller; or a Prospect of Society (1764), which also condemned the corrupting influence of extreme wealth. Goldsmith also set out his ideas about rural depopulation in an essay entitled "The Revolution in Low Life", published in Lloyd's Evening Post in 1762.
There is no single place which has been identified as the village of the poem's title. While personal references in the poem give the impression of referring to the village in which Goldsmith grew up, the poem has also been associated with Nuneham Courtenay in Oxfordshire. In "The Revolution in Low Life", Goldsmith had condemned the destruction of a village within 50 miles (80 km) of London in order to construct a fashionable landscape garden. Goldsmith reported that he had personally witnessed this scene in 1761.[2] In the same year, Nuneham Courtenay was removed to make way for Nuneham Park. Its owner—Simon Harcourt, 1st Earl Harcourt—moved the village 1.5 miles (2.4 km) away.[4] There are a number of other concordances between Nuneham Courtenay's destruction and the contents of The Deserted Village. At Nuneham Courtenay, only an old woman was allowed to remain living in her house—Goldsmith's poem features an old woman who returns to the village, and she is depicted on the title page of the first edition. The position of both villages, on a hill near a river, was similar, and both had parsons who enjoyed gardening.[5]
However, Robert Seitz has argued that while "The Revolution in Low Life" greatly strengthens the case for identifying the deserted village as English, Goldsmith saw in this unnamed village "only what he wished to see", using it to fit a set of political and social ideas which were "made up largely of elements absorbed in Ireland".[6]
Analysis[edit]
Synopsis[edit]
The Deserted Village, engraved by Francesco Bartolozzi after a painting by Francis Wheatley. This image was used in the edition of Goldsmith's poem published in 1800 by F. J. du Roveray.[7]
The poem opens with a description of a village named Auburn, written in the past tense.
Sweet Auburn! loveliest village of the plain;
Where health and plenty cheered the labouring swain,
Where smiling spring its earliest visit paid,
And parting summer's lingering blooms delayed (lines 1–4).
The poem then moves on to describe the village in its current state, reporting that it has been abandoned by its residents with its buildings ruined.
Sunk are thy bowers in shapeless ruin all,
And the long grass o'ertops the mouldering wall;
And trembling, shrinking from the spoiler's hand,
Far, far away thy children leave the land
Ill fares the land, to hastening ills a prey,
Where wealth accumulates, and men decay (lines 47–52)
Depiction of the parson, from an illustrated edition of the poem produced by the Dalziel Brothers
After nostalgic descriptions of Auburn's parson, schoolmaster and alehouse, Goldsmith makes a direct attack on the usurpation of agricultural land by the wealthy:
... The man of wealth and pride
Takes up a space that many poor supplied;
Space for his lake, his park's extended bounds,
Space for his horses, equipage, and hounds:
The robe that wraps his limbs in silken sloth
Has robbed the neighbouring fields of half their growth (lines 275–300)
The poem later condemns the luxury and corruption of the city, and describes the fate of a country girl who moved there:
Where the poor houseless shivering female lies.
She once, perhaps, in village plenty blessed,
Has wept at tales of innocence distressed;
Her modest looks the cottage might adorn,
Sweet as the primrose peeps beneath the thorn:
Now lost to all; her friends, her virtue fled,
Near her betrayer's door she lays her head,
And, pinched with cold, and shrinking from the shower,
With heavy heart deplores that luckless hour,
When idly first, ambitious of the town,
She left her wheel and robes of country brown. (Lines 326–36)
Goldsmith then states that the residents of Auburn have not moved to the city, but have emigrated overseas. He describes these foreign lands as follows:
Far different there from all that charmed before
The various terrors of that horrid shore;
Those blazing suns that dart a downward ray,
And fiercely shed intolerable day (lines 345–8)
The poem mentions "wild Altama", a river in Georgia, an American colony founded by James Oglethorpe to receive paupers and criminals from Britain. As the poem nears its end, Goldsmith gives a warning, before reporting that even Poetry herself has fled abroad:
Even now the devastation is begun,
And half the business of destruction done;
Even now, methinks, as pondering here I stand,
I see the rural virtues leave the land.
Down where yon anchoring vessel spreads the sail (lines 395–9)
The poem ends with the hope that Poetry can help those who have been exiled:
Still let thy voice, prevailing over time,
Redress the rigours of the inclement clime;
Aid slighted truth with thy persuasive strain,
Teach erring man to spurn the rage of gain;
Teach him, that states of native strength possest,
Tho' very poor, may still be very blest;
That trade's proud empire hastes to swift decay,
As ocean sweeps the labour'd mole away;
While self-dependent power can time defy,
As rocks resist the billows and the sky. (Lines 421–30)
Genre, prosody and influences[edit]
The poem has 430 lines, divided into heroic couplets. This form features an "AABBCC..." rhyme scheme, with ten-syllable lines written in iambic pentameter. It is an example of georgic and pastoral poetry.[8] The poem is also an example of Augustan verse. In its use of a balanced account of Auburn in its inhabited and deserted states, and in its employment of an authorly persona within the poem, it conforms to contemporary neoclassical conventions.[9][10]
Goldsmith was educated at Trinity College, Dublin, and had read Latin poetry since childhood. He would, therefore, have been aware of the criticisms made by classical writers such as Juvenal and Pliny of the displacement of the rural poor by the rich.[11] Furthermore, in the eighteenth century the decline of the Roman empire was attributed to the growth of luxury and pride in Rome. Goldsmith, in emphasising the danger that England faced from its increase in wealth, was drawing an obvious parallel.[12] Ricardo Quintana has argued that the poem takes Virgil's first Eclogue as its model.[13]
Quintana has also highlighted the way that the poem presents a series of contrasts. In the early parts of the poem, old "Sweet Auburn" and the deserted village are contrasted. Later in the poem, Quintana argues, Goldsmith places nature and art, frugality and luxury, "national vigor and national corruption", and the country and the city, in opposition.[14]
Social commentary[edit]
The Deserted Village condemns rural depopulation, the enclosure of common land, the creation of landscape gardens and the pursuit of excessive wealth.[15] In Goldsmith's vision, wealth does not necessarily bring either prosperity or happiness. Indeed, it can be dangerous to the maintenance of British liberties and displaces traditional community.[16] In making this argument, some have regarded Goldsmith not as a political radical, but as a socially-concerned "conservative".[17] Indeed, his emphasis on the corrupting effects of luxury fit closely with discourses associated with Tory writers of the time.[18]
Sebastian Mitchell has argued that Goldsmith employs "deliberately precise obscurity" in the poem, concealing the reason for the village's demise.[19] While this may detract from the authority of Goldsmith's social critique, it also allows readers to project their own concerns onto the poem.[19] Bell comments that while Goldsmith criticises enclosure in an indirect manner, he does not attribute Auburn's decline to it.[20] However, Bell also argues that commerce is clearly the "arch-villain of the piece", and it is the riches that a small minority have accumulated from international trade that allow rural people to be displaced from their lands so that country estates can be created.[21] Furthermore, Alfred Lutz has commented that Goldsmith's attacks on landscape gardening have a wider political significance, because enclosure's defenders sometimes compared enclosed fields to gardens.[22]
Mitchell also argues that criticism which focuses solely on the poem's historical accuracy misses its wider commentary on late-eighteenth-century social issues, particularly the question of "urban estrangement".[23]
Publication history[edit]
Title page of Goldsmith's poetical works, with vignette by Thomas Bewick and couplet from The Deserted Village, 1794
The poem was completed in 1769, and was first published in May 1770.[1] Appearing in quarto format, five further editions were released in the same year.[24]
It was published in eleven editions in the United States by the end of the century.[25]
Illustrations and other artwork[edit]
The title page of the first edition featured an engraving by Isaac Taylor.[26] The illustration depicts the old woman mentioned in the poem, standing in front of the deserted village. In the background a ship departs, presumably for America.
Thomas Bewick and his school also produced several depictions of scenes from The Deserted Village, some of which occurred as illustrations of published versions of the poem or Goldsmith's works. In 1794, Bewick produced woodcuts to illustrate a volume entitled The Poetical Works of Oliver Goldsmith.[27] In the following year, Bewick and his brother John Bewick (1760-1795) again engraved illustrations for a volume entitled Poems by Goldsmith and Parnell.[28] The magnitude of this project meant that Bewick enlisted several collaborators to produce the illustrations.[29]
Bewick also depicted scenes from The Deserted Village which appeared in other places. An engraving of his edition of Fables of Aesop, published in 1818, features a scene depicting a quotation from the poem carved into a rock.[30]
The painter Francis Wheatley submitted two paintings to the Royal Academy of Arts in 1800, both of which depicted scenes from The Deserted Village. The paintings were copied by an engraver, and appeared in an edition of Goldsmith's poetry published in the same year by F. J. du Roveray.[31]
Critical reception[edit]
Eighteenth-century reception[edit]
Thomas Bewick's wood engraving Ill Fares the Land, a vignette showing a fragment of Goldsmith's poem apparently carved on a great rock
Alfred Lutz has argued that the poem generated two different types of reception.[32] Firstly, some readers admired Goldsmith's economic and social arguments, or at least reflected upon them in their own writings. Political radicals, such as Thomas Spence and John Thelwall quoted The Deserted Village in their own works, as did a number of other writers.[33] Secondly, readers and critics ignored the political content of the poem, focussing instead on Goldsmith's idyllic descriptions of Auburn.[34] This second type of reading was the most common.[35] Sebastian Mitchell states that some modern critics have seen the poem as appearing at a turning point in British culture, when public social and political opinions, and private emotional dispositions, diverged.[36] With the publication of texts such as Adam Smith's The Wealth of Nations (1776) shortly after The Deserted Village, political and economic discussion increasingly became the preserve not of poetry, but of a "scientific" version of political economy.[37]
In the United States, a different reading occurred—while the English Auburn may have been deserted, the new world offered opportunities for the recreation of Goldsmith's idyll.[34]
Early critics also questioned the validity of Goldsmith's argument about rural depopulation and decline. In 1770, for instance, Thomas Comber argued that the population of rural England was not decreasing, and that enclosure could increase farmers' demand for labourers.[38] An early review in The Critical Review also defended the value of England's increase in wealth, and questioned whether rural depopulation had become an important problem.[39] Modern economic historians have supported Comber's comments about depopulation.[36] George Crabbe's poem The Village (1783) was written as a riposte to what its author saw as the excessive sentimentality of Goldsmith's verse. In his poem, Crabbe describes the hardships of the rural poor, in a way that Goldsmith did not.[40] Furthermore, Crabbe's poem encourages the interpretation of Goldsmith's bucolic depiction of old "sweet Auburn" in The Deserted Village as being a representation of the status quo in 1770, rather than a depiction of an idealised past through which current moral decline can be highlighted. The Deserted Village is, in this interpretation, "depoliticised"—an act that was reinforced by nineteenth-century interpretations produced by Thomas Babington Macaulay and two of Goldsmith's biographers.[41]
The poem also generated other responses in verse.[42] While Crabbe emphasised the misery and poverty of rural life, Robert Bloomfield's The Farmer's Boy (1800) returned to the theme of the rural idyll, but without Goldsmith or Crabbe's political criticism. The Deserted Village was a major influence on Bloomfield, as was Alexander Pope's pastoral poetry.[43]
Later reception[edit]
The poem's reception in the Victorian era was largely positive.[36] The Irish playwright Edmund Falconer (c.1814–1879) adapted the work to suit as opera libretto for the three-act opera of the same name (1880) by John William Glover (1815–1899).
Cultural references[edit]
The poem has influenced the production of several notable cultural works. In 1825, Goldsmith's great-nephew—also called Oliver Goldsmith—wrote a response to his relative's poem, entitled The Rising Village.
The first half of line 51 from the poem ("Ill fares the land, to hastening ills a prey") has provided a title to several books and films, including Carey McWilliams's Ill Fares the Land: Migrants and Migratory Labor in the United States (1942) and Ill Fares the Land (2010) by Tony Judt.
A single line from The Deserted Village is inscribed on the plinth of a statue of Queen Victoria and Prince Albert in Saxon Dress. The marble original with plinth is in the Royal Collection, and a copy of the sculpture is in the National Portrait Gallery in London.[44][45] The words on the plinth are "ALLURED TO BRIGHTER WORLDS, AND LED THE WAY".
In Ireland the village described in the poem is thought to be Glasson village, near Athlone. Signage around the village points out the association with Oliver Goldsmith. In American popular culture, and specifically that of Alabama, the poem's first line "Sweet Auburn, Loveliest village of the plain" is the basis for the term "Auburn Plainsman/Plainsmen" which is used to refer to an Auburn University student and is also the source for the name of the University student Newspaper, The Auburn Plainsman. Mount Auburn Cemetery in Watertown and Cambridge, Massachusetts, is also named after the village in the poem.
Notes and references[edit]
Notes[edit]
^ Jump up to: a b c Dussinger 2004.
^ Jump up to: a b Batey 1968, p. 120.
Jump up ^ Lutz 1998, p. 175.
Jump up ^ Batey 1968, p. 111.
Jump up ^ Batey 1968, pp. 121–4.
Jump up ^ Seitz 1937, p . 408.
Jump up ^ Roberts 1910, p. 49.
Jump up ^ Mitchell 2006, p. 127.
Jump up ^ Jaarsma 1971, p. 450.
Jump up ^ Quintana 1964, pp. 205–6.
Jump up ^ Bell 1944, pp. 768–72.
Jump up ^ Bell 1944, p. 768.
Jump up ^ Jaarsma 1971, p. 449.
Jump up ^ Quintana 1964, p. 211.
Jump up ^ Bell 1944, pp. 474–9.
Jump up ^ Kazmin 2006, pp. 664–5.
Jump up ^ Miner 1959, p. 125.
Jump up ^ Miner 1959, p. 129–30.
^ Jump up to: a b Mitchell 2006, p. 129.
Jump up ^ Bell 1944, p. 748.
Jump up ^ Bell 1944, p. 749.
Jump up ^ Lutz 1998, p. 177.
Jump up ^ Mitchell 2006, pp. 124–5.
Jump up ^ Friedman 1960, p. 146.
Jump up ^ Lutz 1998, p. 192.
Jump up ^ Gilbert 2004.
Jump up ^ "The Bewick Collection". The poetical works of Oliver Goldsmith, M.B. Complete in one volume. With the life of the author. Hereford: D. Walker, 1794. The Newcastle Collection (Newcastle City Council). Retrieved 2013-06-02.
Jump up ^ "Discovering Bewick". John Bewick: The Sad Historian (from The Deserted Village) TWCMS:2000.515.7. Tyne and Wear Museums. 2004. Retrieved 2013-06-02.
Jump up ^ Uglow 2006, pp. 202–5.
Jump up ^ "The First Part of an Inventory of the Vignettes of Thomas Bewick and the Beilby-Bewick Workshop" (PDF). The Bewick Society. October 2012. p. 720. Retrieved 2013-06-02.
Jump up ^ Roberts 1910, p. 26.
Jump up ^ Lutz 1998, pp. 189–90
Jump up ^ Lutz 1998, p. 181.
^ Jump up to: a b Lutz 1998, p. 190.
Jump up ^ Lutz 1998, p. 182.
^ Jump up to: a b c Mitchell 2006, p. 124.
Jump up ^ Lutz 1998, pp. 183-4.
Jump up ^ Mitchell 2006, pp. 123–4.
Jump up ^ Jaarsma 1971, p. 447.
Jump up ^ Lutz 1998, pp. 184–5.
Jump up ^ Lutz 1998, p. 188.
Jump up ^ Lutz 1998, p. 183.
Jump up ^ Frederick Burwick (ed.), The Encyclopedia of Romantic Literature, p. 744.
Jump up ^ "Room 21 at the National Portrait Gallery".
Jump up ^ William Theed. "Queen Victoria and Prince Albert". Royal Collection Trust. Inventory no. 60778.
References[edit]
Books[edit]
John A. Dussinger, 'Goldsmith, Oliver (1728?–1774)', Oxford Dictionary of National Biography, Oxford University Press, 2004.
W. Roberts, F. Wheatley, R. A., his life and works (London: Otto Limited, 1910).
Robin Taylor Gilbert, 'Taylor, Isaac (1730–1807)', Oxford Dictionary of National Biography, Oxford University Press, 2004.
Jenny Uglow, Nature's Engraver: a Life of Thomas Bewick (London: Faber & Faber, 2006).
Articles[edit]
Batey, Mavis (1968). "Nuneham Courtenay; an Oxfordshire 18th-century Deserted Village" (PDF). Oxoniensia. 33: 108–124.
Bell, Howard J. (September 1944). "The Deserted Village and Goldsmith's Social Doctrines". PMLA. 59 (3): 747. doi:10.2307/459383. ISSN 0030-8129.
Cole, Richard (1970). "Oliver Goldsmith's Reputation in Ireland, 1762-74". Modern Philology. 68 (1): 65–70. doi:10.1086/390210.
Jaarsma, Richard (1971). "Ethics in the Wasteland: Image and Structure in Goldsmith's The Deserted Village". Texas Studies in Literature and Language. 13 (3): 447–459.
Kazmin, Roman (2006). "Oliver Goldsmith's The Traveller and The Deserted Village: Moral economy of landscape representation". English Studies. 87 (6): 653–668. doi:10.1080/00138380600953336.
Lutz, Alfred (1998). "The Politics of Reception: The Case of Goldsmith's The Deserted Village". Studies in Philology. 95 (2): 174–196.
Miner, Earl (February 1959). "The Making of The Deserted Village". Huntington Library Quarterly. 22 (2): 125–141. doi:10.2307/3816319. ISSN 0018-7895.
Mitchell, S. (2006). "Oliver Goldsmith's the Deserted Village: Past, Present, and Future". English. 55 (212): 123–139. doi:10.1093/english/55.212.123.
Quintana, Ricardo (December 1964). "The Deserted Village, Its Logical and Rhetorical Elements". College English. 26 (3): 204. doi:10.2307/373591. ISSN 0010-0994.
Seitz, Robert W. (June 1937). "The Irish Background of Goldsmith's Social and Political Thought". PMLA. 52 (2): 405. doi:10.2307/458598. ISSN 0030-8129.
Storm, Leo F. (May 1970). "Literary Convention in Goldsmith's Deserted Village". Huntington Library Quarterly. 33 (3): 243–256. doi:10.2307/3816638. ISSN 0018-7895.
External links[edit]
Wikisource has original text related to this article:
The Deserted Village
First edition on Archive.org
The Poetical Works of Oliver Goldsmith, illustrated by T. Bewick, 1794
The Deserted Village public domain audiobook at LibriVox
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Deserted_Village&oldid=802841660"
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Madden NFL 18
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Madden NFL 18
Xbox One cover art featuring Tom Brady
Developer(s)
EA Tiburon
Publisher(s)
EA Sports
Series
Madden NFL
Engine
Frostbite 3
Platform(s)
PlayStation 4
Xbox One
Release
WW: August 25, 2017
Genre(s)
Sports
Mode(s)
Single-player
Multiplayer
Pay-to-win
Madden NFL 18 is an American football sports video game based on the National Football League, developed and published by EA Sports for PlayStation 4 and Xbox One. The 29th installment of the Madden NFL series, the game features New England Patriots quarterback Tom Brady on the cover, the second straight year a Patriots player has the distinction, following tight end Rob Gronkowski.
It was released worldwide on August 25, 2017, although those who pre-ordered the "G.O.A.T. Edition" were able to play it three days earlier. It is the first game of the series since Madden NFL 2005 to not be released on both PlayStation 3 and Xbox 360,[1][2] and also the first game in the main series to be available on only two platforms since Madden NFL '94.
Contents
[hide]
1 Gameplay
2 Longshot plot
3 Development
4 Reception
5 References
6 External links
Gameplay[edit]
Madden NFL 18 is the first game in the series to use the Frostbite engine.[3]
While the Madden series has typically featured a Superstar career mode, Madden NFL 18 introduces a story mode known as Longshot, the first such mode in the series.[4] Longshot follows Devin Wade, a quarterback from Mathis, Texas, as he tries to reach the NFL, and includes high school and college football games (the first appearance of the latter in an EA Sports game since 2013, when EA ended the NCAA Football series), as well as the NFL Scouting Combine.[5][6][7] The player's decisions and performances in the game determine Devin's career path, as dialog trees are used to help him make decisions.[8]
Madden NFL 18 also included many subtle game-play changes. One of the major changes was a new element to the overall difficulty of a game, introducing "game styles".[9] Game styles were an attempt to create a more enjoyable experience to the player, allowing them to choose (excluding Madden Ultimate Team solo challenges) one of three game styles to fit their enjoyment. The first game style was arcade mode, which was made for players who like an easy experience. Arcade mode made the game much easier for the user. The second game style was simulation mode. This game style was an attempt to make the game-play feel like an authentic NFL game.[10] This brought the difficulty up from arcade mode, but wasn't as intense as the third and final game style, competitive. This was created for the hard-core Madden players, making the AI increadibly skilled, and making game-play incredibly difficult.[11]
More minor game-play changes included the addition of Target Passing, a new game-play element when attempting a pass. The goal of this new feature was to give the user more control over the game and have more confidence in the pass going where it was intended to go. [12]
Other changes/additions included the creation of MUT Squads[13], and coaching adjustments in-game.[14]
Longshot plot[edit]
Quarterback Devin Wade, along with childhood friend and wide receiver Colton "Colt" Cruise, visit Indianapolis to participate in the NFL Regional Combine. There, Devin's performance catches the attention of TV producers Ross Fountain and Julia Vasco, who want him to be the star of a series titled Longshot, which would follow the story of a player with low odds of making it into the NFL and turn him into an NFL Draftee, receiving the assistance of coach Jack Ford, the presenter of the program. Devin and Colt leave without an answer to think. On the drive home, Devin reminisces about his successful high school career before his struggles at the University of Texas, which he left after just four games following his father's death in a car accident. To Devin, Colt, and Julia's surprise, Ross arranges for three other quarterbacks to compete with him on the show. Although Jack urges Ross to select another quarterback due to Devin's inability to call plays, Ross forces Jack to choose him for his better marketing potential and guilt tripping him by mentioning Devin's deceased parents.
Annoyed by what he considers boring television, Ross arranges an exhibition match for Devin in front of NFL scouts, scheduled to take place in two weeks. Devin is worried about the game, but Colt, who had been invited to the NFL Super Regional Combine, instead decides to join the show and help him. At a press conference the day before the game, Devin's confidence is shattered by questions about where he had disappeared after his Texas career. Devin asks Ross to postpone the game, but he and Julia are fired. Jack attempts to persuade Devin to stay, but he and Colt drive home.
In Texas, Colt tells Devin he is tired of helping him, only for Devin to quit whenever the situation proves to be too difficult. Devin starts working at his friend's construction business, where his coworkers and former Mathis teammates remember their high school days. That night, Devin is still working against his friends' interests as a Mathis High School football ceremony is taking place. Colt eventually arrives and makes amends with Devin. After the ceremony, Julia visits the two and convinces them to rejoin the show.
Returning to the Longshot studios, Devin reunites with Jack and apologizes for leaving, while Jack does so for failing to properly train him. At the meeting, the chairman of the TV network that Longshot is on, declares Ross' behavior onscreen inappropriate and allows the player to choose whether to demote or fire him. Following said meeting, Jack introduces Devin to his good friend, former Miami Dolphins great Dan Marino, who further coaches Devin. The two visit a military base in Dubai in the United Arab Emirates, where Devin was stationed after enlisting in the Army following his time at Texas. There, Captain McCarthy explains he had helped Devin rediscover his love for football.
For the Legends Game, Devin's team is to progress through five challenges, with the first three based on moving the offense downfield from certain starting yard lines in an allotted time frame. In the fourth, Devin has to complete a scoring drive without throwing a pass to Colt. For the final challenge, rain falls on the stadium as Devin faces a 3rd and 15 situation, an atmosphere resembling his final game at Texas. After scoring, Devin is greeted by the cheers of Longhorn fans, having finally redeemed himself.
Devin and Colt's NFL futures vary based on the player's behavior in the Legends Game.[15] There are two possible endings related to the Draft: Devin gets drafted by his favorite team (which the player picked earlier in the game), or Colt gets drafted by Devin's favorite team's rival and Devin is undrafted.[16] In the former, Devin is selected in the seventh round, but Colt is not drafted. Devin tries to encourage him, but Colt tells him to enjoy the feeling. Devin leaves the house and shouts in glee before stopping to remember his childhood.
In the undrafted ending, Colt is drafted in the sixth round, but apologizes to Devin out of disbelief. As the seventh round concludes, Devin is not drafted and leaves the house, where he vents his frustration and sits on the porch. A flashback to his childhood days with his father takes place, where Cutter tells him while victory does not always occur, if one gives it their best, they have the right to feel like a winner. However, Dan calls Devin to announce two teams have expressed interest in signing him as an undrafted free agent: his favorite team and Colt's team. After telling Colt of his new team, the two celebrate.
Standing on his porch, Devin receives a text from Jack, who congratulates and thanks him for allowing him to be his coach. Devin returns to his room and looks at his Texas cap on the desk, telling his father he finally had something to be proud of before placing his NFL team's cap with it.
Development[edit]
Like Madden NFL 17, EA did not hold an open vote for who would appear on the cover, but personally selected and announced New England Patriots quarterback Tom Brady in May 2017. EA Sports marketed the game with a trailer featuring Brady's entrance to Super Bowl LI.[17] Madden NFL 18 was released on August 25, 2017 for the PlayStation 4 and Xbox One.[18][19][20] It was first game in the series not to be released on Xbox 360 since Madden NFL 06 and the first not to be released on PlayStation 3 since Madden NFL 07. The soundtrack for the game, which features 40 songs, includes Kendrick Lamar, Big Sean, Imagine Dragons, Steve Aoki, Waka Flocka Flame, Pharrell, Snoop Dogg, Young Jeezy, Rick Ross, Big Boi, Killer Mike, and ASAP Rocky among others.[21]
Written by EA Sports creative director Mike Young,[15] Longshot is split into three acts, the first discussing the Regional Combine, while the second and third follow the Longshot TV show and Devin's return, respectively.[22] While Longshot is comparable to story modes in other games like NBA 2K's MyCareer and FIFA's The Journey, Longshot is different in that the protagonist is not a rising star in their respective sport, but is instead a fringe player. Young described the story as like a "playable movie", rather than a "career mode with cutscenes".[4]
To develop Longshot, EA Sports used motion capture on the actors. Devin is portrayed by JR Lemon, a former Stanford Cardinal football player and member of the Oakland Raiders, while Academy Award winner Mahershala Ali plays Devin's father Cutter. Colt is played by Scott Porter, a cast member in the TV series Friday Night Lights and ex-high school football player.[23] Ross and Julia are portrayed by Ricky Wayne and Marem Hassler, respectively.[24] Rus Blackwell plays Jack;[23] Bill Cowher, who was originally considered for Jack's role,[25] along with former players like Marino, Chad Johnson, and Larry English are also involved in the story.[23] United States Army soldier and former Texas Longhorns long snapper Nate Boyer appears in the story as Captain McCarthy.[24] Like Boyer, Devin is a Texas Longhorn and soldier, which Boyer pointed out was a coincidence; an ESPN documentary about the long snapper was also named The Long Shot.[15] Unlike other characters, Jim Miller and Pat Kirwan appear in the game as live action analysts for the fictional Real Football show,[26] as do players Kirk Cousins and Josh Norman in Twitter videos.
NHL player Theoren Fleury and Phil Deschambault wrote the song "Longshot" for the story.[27] Colt also writes and performs the song in the game.[8]
Reception[edit]
Reception
Aggregate score
Aggregator
Score
Metacritic (XONE) 82/100[28]
(PS4) 82/100[29]
Review scores
Publication
Score
Destructoid 7.0/10[30]
EGM 7.0/10[31]
Game Informer 8.25/10[32]
Game Revolution [34]
GameSpot 9/10[37]
GamesRadar [33]
IGN 8.6/10[35]
Polygon 8/10[36]
Madden NFL 18 received generally favorable reviews from critics, according to review aggregator Metacritic. The new game mode Longshot, however, was met with a mixed reception, with some calling it "game changing" and praising the story, while others referred to it as an "ambitious disappointment" and criticized the lack of actual football gameplay in the mode.[34][33] In its 8.6/10 review, IGN wrote: "The shift to Frostbite doesn't refresh Madden NFL 18's gameplay much, but Longshot is a memorable single-player mode."[35] Electronic Gaming Monthly gave the game a 7.0/10, writing: "Although the new Longshot mode shines, Madden misses the mark with a few of its gameplay additions this year—so if you don’t immediately take a liking to them and choose to ignore them, the experience will feel a lot like last year’s."[31]
References[edit]
Jump up ^ "Madden NFL 18 - Football Video Game - EA SPORTS Official Site". easports.com. Retrieved 2017-05-12.
Jump up ^ "Madden 18 - Official Teaser Trailer - YouTube". youtube.com. Retrieved 2017-05-12.
Jump up ^ "Performance enhancers: Madden NFL 18 will run on Battlefield's Frostbite graphics engine". VentureBeat.com. 2017-01-31. Retrieved 2017-06-20.
^ Jump up to: a b Sarkar, Samit (June 10, 2017). "Madden NFL 18's story mode is designed to be a 'playable movie'". Polygon. Retrieved September 6, 2017.
Jump up ^ "Taste amateur football glory with 'Madden 18's' 'Longshot' mode". Engadget. Retrieved June 12, 2017.
Jump up ^ "'Madden NFL 18' to introduce story mode, feature new play styles | NFL | Sporting News". sportingnews.com. Retrieved May 12, 2017.
Jump up ^ Good, Owen (June 10, 2017). "College football comes back in Madden NFL's new story mode". Polygon. Retrieved September 6, 2017.
^ Jump up to: a b Myers, Maddy (August 25, 2017). "Madden 18's New Story Mode Is Actually Pretty Touching". Kotaku. Retrieved September 5, 2017.
Jump up ^ "Madden NFL 18 Game Styles". EA SPORTS. Retrieved 2018-01-04.
Jump up ^ "Madden NFL 18 Game Styles". EA SPORTS. Retrieved 2018-01-04.
Jump up ^ "Madden NFL 18 Game Styles". EA SPORTS. Retrieved 2018-01-04.
Jump up ^ "Madden Mechanics: Target Passing". EA SPORTS. Retrieved 2018-01-04.
Jump up ^ "MUT Squads - Madden NFL 18 - EA SPORTS Official Site". www.easports.com. Retrieved 2018-01-04.
Jump up ^ "New Features and Modes - Madden NFL 18 - EA SPORTS Official Site". www.easports.com. Retrieved 2018-01-04.
^ Jump up to: a b c Lilley, Kevin (August 18, 2017). "Army plays supporting role in 'Madden 18' story mode ... and so does a former Green Beret". Army Times. Retrieved September 5, 2017.
Jump up ^ Adams, Jonathan (August 23, 2017). "Madden 18 Longshot Mode: How Many Endings Are There?". Heavy.com. Retrieved September 6, 2017.
Jump up ^ "Tom Brady stars in Madden 18 trailer - ESPN Video - ESPN.com". Archived from the original on 2017-05-17.
Jump up ^ Mazique, Brian. "'Madden 18' Cover Athlete, Release Date, Pre-Order Details, New Features And EA Access Announced". Forbes. Retrieved 2017-07-18.
Jump up ^ Makuch, Eddie (2017-06-10). "E3 2017: Madden 18 Trailer Reveals "Longshot" Story Mode Featuring House Of Cards Actor". GameSpot. Retrieved 2017-07-18.
Jump up ^ "Buy Madden NFL 18 - Microsoft Store". Microsoft Store. Retrieved 2017-07-18.
Jump up ^ "Turn Up with the Madden NFL 18 Soundtrack". EA Sports. August 2, 2017. Retrieved August 2, 2017.
Jump up ^ Cryer, Hiyun (September 1, 2017). "Madden 18 Longshot Story Mode Walkthrough - How to Get Drafted, All Correct Answers and Choices". USGamer. Retrieved September 4, 2017.
^ Jump up to: a b c Smith, Joel (August 22, 2017). "Madden NFL 18's Longshot Proves to Be a Real Touchdown". Operation Sports. Retrieved August 27, 2017.
^ Jump up to: a b "Meet the Cast of Longshot". EA Sports. Retrieved September 5, 2017.
Jump up ^ Good, Owen (August 27, 2017). "How Madden's Longshot turned down a future Hall of Famer, and got its best character". Polygon. Retrieved September 5, 2017.
Jump up ^ Vazquez, Suriel (September 4, 2017). "Madden 18's Longshot Made Me Care About Football". Game Informer. Retrieved September 5, 2017.
Jump up ^ Schlager, Brandon (August 26, 2017). "How Theo Fleury made it into 'Madden NFL 18'". Sporting News. Retrieved September 5, 2017.
Jump up ^ "Madden 18-Xbox One". Metacritic. Retrieved August 27, 2017.
Jump up ^ "Madden 18-PS4". Metacritic. Retrieved September 4, 2017.
Jump up ^ "Madden NFL 18 review". Destructoid. August 31, 2017. Retrieved September 15, 2017.
^ Jump up to: a b "Madden NFL 18 review". Game Informer. August 16, 2017. Retrieved September 15, 2017.
Jump up ^ "Madden NFL 18 review". Game Informer. August 17, 2017. Retrieved August 23, 2017.
^ Jump up to: a b "Madden NFL 18 Review". GamesRadar. August 16, 2017. Retrieved August 19, 2017.
^ Jump up to: a b "Madden NFL 18 Review: Madden NFL 18 Review – Marginal Improvements Don't Cut It Anymore". Game Revolution. August 18, 2017. Retrieved August 19, 2017.
^ Jump up to: a b "Madden NFL 18 Review". IGN. August 23, 2017. Retrieved August 23, 2017.
Jump up ^ "Review: Madden NFL 18". Polygon. August 18, 2017. Retrieved August 19, 2017.
Jump up ^ "Madden NFL 18 review". GameSpot. August 18, 2017. Retrieved August 19, 2017.
External links[edit]
New "Game Styles"
New "Target Passing"
New "MUT Squads"
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