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Halo Wars 2
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Halo Wars 2
Developer(s)
343 Industries
Creative Assembly
Publisher(s)
Microsoft Studios
Director(s)
Alistair Hope
Artist(s)
Jeremy Cook
Writer(s)
Kevin Grace
Composer(s)
Gordy Haab
Brian Lee White
Brian Trifon
Series
Halo
Platform(s)
Windows, Xbox One
Release
February 21, 2017
Genre(s)
Real-time strategy
Mode(s)
Single-player, multiplayer
Halo Wars 2 is a real-time strategy (RTS) video game developed by 343 Industries and Creative Assembly. It was published by Microsoft Studios and released in February 2017 on Windows and Xbox One. The game is set in the science fiction universe of the Halo franchise in 2559. It is a sequel to Halo Wars (2009) and takes place shortly after the events of Halo 5: Guardians (2015). The story follows a human crew that is part of a military organization, the United Nations Space Command (UNSC). The crew's starship arrives at the Ark, a Forerunner installation responsible for constructing and remotely controlling the titular Halo rings. On the Ark, they encounter a mercenary alien faction known as the Banished, and a war ensues.
In Halo Wars 2, players construct a base of operations, accumulate resources to deploy infantry and vehicle units, and command their armies from a bird's-eye view of the battlefield. The primary goal during a battle is typically to destroy an opponent's bases or to capture and control territories on the battlefield. Combat is balanced by a "rock–paper–scissors" counter-attack system, in which ground vehicles are effective in combat against infantry, infantry are effective against aircraft, and aircraft are effective against ground vehicles. The game supports online multiplayer for playing cooperatively or competitively with other players.
Development of Halo Wars 2 began in 2014 when Halo franchise developer 343 Industries approached British development studio Creative Assembly about collaborating on the game. Creative Assembly were chosen for their years of experience in developing RTS games. 343 Industries wanted to integrate the story of Halo Wars 2 more closely with the ongoing storyline of the Halo series. This led them to set the game 28 years after the original Halo Wars so they could fit it in the current timeline of the main story arc. The game was announced in 2015 at Gamescom and showcased at a number of video gaming conventions before release. Two open betas ran during the final year of the game's production so the development team could make adjustments to the game based on feedback from players.
Halo Wars 2 received generally positive reviews. The campaign cinematics, created by Blur Studio, were lauded for their outstanding animation quality. Reviewers thought the game was very approachable for beginners but felt it needed more strategic depth to gain popularity among experienced RTS players. Several nuisances in the keyboard and mouse controls left some critics disappointed; but enhancements made to the gamepad control scheme from the first Halo Wars were praised. Cross-platform play was enabled after release and the game was supported with additional content such as a campaign expansion, Awakening the Nightmare.
Contents
1 Gameplay
2 Plot
2.1 Setting and characters
2.2 Story
3 Development
3.1 Design
3.2 Audio
4 Marketing and release
5 Reception
5.1 Accolades
6 References
6.1 Videos
7 External links
Gameplay[edit]
UNSC forces attack a Banished Scarab. The green aura surrounding UNSC units is an active leader ability that restores health to the encircled units.
Halo Wars 2 is a military science fiction real-time strategy video game, in which players command armies from a bird's-eye view of the battlefield.[1][2] It can be played using a gamepad or using a mouse and keyboard.[2] Like its predecessor Halo Wars, it features two playable factions: humanity's military arm, the United Nations Space Command, and an alien faction, the Banished.[3][4] In most game modes, players establish a base of operations at a predetermined location.[2] Barracks and vehicle depots can be constructed at a base to deploy infantry and vehicles for combat. Supplies are gathered on the battlefield or collected via a supply pad building; they are expended to deploy units and construct buildings. Some units and buildings require a second resource—power, which is produced using a generator or extractor building. Base buildings can be upgraded to grant passive bonuses and unlock access to higher tier units.[5]
Initially, the battlefield is shrouded by a fog of war, which is uncovered by moving units to clouded regions of the map. Units can be selected and commanded to engage in combat or interact with structures on the battlefield.[5] Combat is balanced by a "rock–paper–scissors" counter-attack system, in which ground vehicles are effective in combat against infantry, infantry are effective against aircraft, and aircraft are effective against ground vehicles.[6] In addition to their primary attacks, every unit has at least one special ability. For example, Spartan supersoldiers are capable of hijacking vehicles and performing a smash attack after leaping into the air.[7] Players can build additional bases once they have accumulated enough resources and gained control over areas of the map, allowing them to expand their army.[5]
A campaign mode lets players take control of UNSC forces in battles against the Banished on an ancient alien structure.[1][3] The main campaign consists of twelve missions and can be played alone or cooperatively.[2][8] Each mission presents main objectives that involve capturing points, defending bases, or surviving waves of enemies,[1] and often require players to lead Spartan units around the map. Campaign missions offer optional side objectives such as ensuring a certain unit survives over the course of the mission or destroying extra bases within a time limit.[2] Animated cutscenes and dialogue precede each mission to provide context and integration with the game's story.[1] A secondary campaign lets players control Banished forces in a battle against parasitic alien life forms known collectively as the Flood.[9]
Outside the campaign, both the UNSC and the Banished are playable; each faction has a distinct set of units.[2] Players choose a leader that is based on a prominent character and emphasizes a particular style of play.[1][2][3][5] Leaders have unique abilities that can be upgraded and activated during a battle; using one requires supplies and triggers a cooldown period before it is available again.[2][5][7] Healing groups of units, carpet bombing a targeted area, and deploying special troops are examples of some leader abilities.[7] The game's multiplayer modes support online play with up to six players.[10] Skirmish is a cooperative or solo play mode against computer-controlled (AI) opponents.[11] Deathmatch involves eliminating the opponent's army.[10] Stronghold and Domination are territorial modes centered around controlling bases or nodes on the map.[2] Blitz mode combines elements from collectible card games with RTS gameplay by replacing base building and resource management with a card-and-deck mechanic for unit deployment.[12][13] Decks are created from card packs earned through the campaign mode and daily challenges. Each card features a deployable unit and has an energy cost; deploying a more powerful unit uses more energy.[12][11] Energy generates automatically throughout a match and more can be collected from pods dropped onto the map periodically.[11] Blitz Firefight is a single-player and cooperative variant which pits players against waves of AI enemies.[2]
Plot[edit]
Setting and characters[edit]
Halo Wars 2 takes place in the science fiction universe of the Halo series. The game is set in 2559, 28 years after the events of Halo Wars and shortly after the events of Halo 5: Guardians.[14] Halo Wars closes with the crew of the UNSC warship Spirit of Fire entering cryosleep and drifting in space. Since then, the war between humanity and the alien alliance known as the Covenant has ended, and Spirit of Fire has been declared lost with all hands.[4] While Spirit of Fire is adrift in space, the ship's artificial intelligence (AI) Serina (Courtenay Taylor) terminates herself before succumbing to rampancy, a terminal state.[14][15] Captain James Cutter (Gideon Emery), Professor Anders (Faye Kingslee),[8] and the rest of the crew wake from cryosleep at the Ark, a Forerunner installation capable of manufacturing large ringworlds known as Halos.[4][16] Isabel (Erika Soto) is a UNSC logistics AI operating at a research facility on the Ark when an alien faction called the Banished invades.[17] The Banished are led by the Brute warlord Atriox (John DiMaggio) and rose to power following the Covenant's demise.[15][4] Serving under Atriox are the Brute general Decimus and the Elite Shipmaster Let 'Volir (Darin De Paul).[18][15]
Story[edit]
Spirit of Fire's crew awakens from cryosleep at the Ark and receives a UNSC signal from the surface of the installation. Spartan Red Team is deployed to investigate the signal. They recover Isabel from a base but during the exfiltration Spartan Douglas-042 is injured in an engagement with Atriox and Spartan Alice-130 is left stranded on the Ark. Back on Spirit of Fire, Isabel reveals to Captain Cutter how Atriox and the Banished invaded the Ark, which leads Cutter to declare war on them. A strike team manages to set up a forward base and defeat Decimus, who is salvaging the Ark's resources. Decimus escapes and orders a bombardment on his own base. In the wreckage, Isabel discovers information about the Cartographer, a map of key systems and weapons on the Ark. The strike team secures a Forerunner elevator and ascends to the Cartographer.
Meanwhile, Alice-130 contacts Spirit of Fire and escapes the Ark with recovered UNSC prisoners. The strike team and Anders reach the Cartographer's map room despite being attacked by autonomous machines (Sentinels) that maintain the Ark. Anders discovers that Atriox has hijacked the Ark's portal network, allowing him to transport troops across the whole structure. While trying to shut down the portal network, the strike team face Decimus again and defeat him for the second and final time. Spirit of Fire then comes under attack from a Banished carrier ship. Anders suggests they create a Halo ring using the Ark's protocols to transport the crew away from the Ark and back into UNSC-controlled space. The attacking carrier is destroyed when Isabel and Spartan Jerome-092 hijack its weapon systems to prompt the Sentinels stationed on the Ark to shatter it in two.
The new Halo is released but UNSC forces face immediate resistance from the Banished. On the Ark, Alice-130 and Douglas-042 prevent many Banished reinforcements, including Atriox, from getting to the Halo before using the portal network to reach it themselves. Anders is escorted to the ring's control room where the firing system of the structure is deactivated and a signal beacon is set. Anders uses the gravity controls for the Halo to raise the land below the remaining Banished forces into space where it disintegrates. The ground forces return to Spirit of Fire but Anders and the Halo enter slipspace as they cannot halt the jump's countdown. Before the Halo jumps, Anders promises to get help from the UNSC as soon as possible. On the Ark, Atriox and a legion of Banished are still live, preparing for the next fight against the UNSC. Meanwhile, the Halo carrying Anders drops out of slipspace prematurely, only to encounter a Foreunner Guardian.
Development[edit]
In 2009, Microsoft Studios launched Halo Wars, a real-time strategy spin-off from the first-person shooter series Halo. It was developed by Microsoft subsidiary Ensemble Studios.[19] While Halo Wars was a commercial success,[10] Ensemble Studios was shut down after development.[19] Before its closure, the studio had started planning a story for a sequel. According to Halo Wars lead writer Graeme Devine, this script explored the history of the Forerunners and involved Spirit of Fire arriving at a Forerunner station tracked by Anders.[20] In 2007, Microsoft formed an internal division, 343 Industries, to develop Halo products,[21] and the studio searched for a developer to partner on a Halo Wars sequel.[22] They viewed working with other developers and using external experience as key to maintaining quality across their projects.[21]
In 2014, 343 Industries began developing Halo Wars 2 after approaching UK-based developer Creative Assembly.[3][19][23][24] Creative Assembly was chosen because of their reputation in developing real-time strategy games such as Total War.[19][22] The studio had considered creating an RTS for console and PC for a long time, so the prospect of working on Halo Wars 2 was viewed as a perfect opportunity.[6] The Halo Wars 2 development team within Creative Assembly was composed of people who worked on Alien: Isolation (2014), the Total War series, and new employees hired for the project.[25] While Creative Assembly is a PC-centric developer, staff from the Alien: Isolation team were able to provide experience in producing games for consoles.[26] On January 18, 2017, the development team announced that the game had "gone gold".[27]
Design[edit]
Creative Assembly's studio director Tim Heaton said the gameplay of Halo Wars 2 would not be similar to their Total War series. Their approach was to build upon the foundation established with Halo Wars.[26] With Halo Wars 2, the development team hoped to introduce new players to the strategy game genre while appeasing experienced gamers by including a range of multiplayer modes that a wide spectrum of players could enjoy. They also wanted to extend the purpose of leader units and their abilities by giving each of them a more defining role in the style of play they represent.[3] Creative Assembly thought the game needed more artillery units capable of performing long range attacks, however there were currently no suitable vehicles in the Halo universe. So they created two new vehicles for the role and checked they did not feel out of place using reference material supplied by 343 Industries.[28] Creative director Alistair Hope viewed staying true to the source material as an important factor for all of Creative Assembly's games, but stated that the team were given more freedom to explore and expand the Halo universe than they had anticipated.[25] Hope praised the control scheme used in Halo Wars and aimed to enhance the system by ensuring Halo Wars 2 would be intuitive to play on a console.[3] One common control feature included in many PC RTS games but absent from the original Halo Wars is control groups, which lets sets of units be manually assigned to a key.[29][28] As Halo Wars 2 was developed for console and PC, the designers were keen to include the feature for both versions of the game.[29] 343 Industries had initially considered supporting cross-platform play between Windows and Xbox One devices but the feature was ultimately excluded from the game at launch.[23]
The Blitz game mode resulted from experimenting with ideas for a fast-paced and accessible variation of RTS gameplay. The development team wanted to streamline mechanics, such as base building and resource management, which players typically viewed as being complex and intimidating. The initial design of Blitz involved players having an army roster, like in tabletop war games. After playtesting this version, they realized that the scale of battles would shrink and become less appealing over the course of the match. They revised the mode by implementing a card-and-deck system for unit deployment and introducing randomly spawning resources on the maps.[13] Blitz was influenced by the Warzone game mode from Halo 5: Guardians and Blizzard Entertainment's collectible card game Hearthstone, taking design cues from the card collecting and deck building systems.[6] 343 Industries' head of strategy games Dan Ayoub cited multiplayer online battle arena games as impactful on the design of Blitz, since they replaced resource management with individual unit combat.[3]
Halo franchise development director Frank O'Connor explained that Halo Wars 2 would be more integrated with other fiction in the universe than its predecessor. The story of the first Halo Wars is set 20 years before Halo: Combat Evolved and is largely isolated from other games within the series. This was to prevent it from interfering with other projects (Halo 3 and Halo: Reach) that were also in development at the time.[4] Consequently, Halo Wars 2 is set in the contemporary fictional timeline following the events of Halo 5: Guardians,[30] and is said to have a "sense of scale" that the first game was missing.[4] This decision also opened a narrative thread in Halo Wars 2, in which the returning characters are placed in an unfamiliar universe with outdated technology.[30] Narrative director Kevin Grace said they took most of their inspiration for the game's tone from Halo: Combat Evolved.[17][4]
The narrative team wanted to establish a new villain who was both powerful and intelligent, which led to the introduction of the Brute warlord Atriox.[16] Grace cited the Arbiter as a great example of a character who was unique within his species; he noted that this trait was applied to the Brutes with the creation of Atriox.[31] To subvert the notion that Brutes are just the "dumb muscle" of the Covenant, they wanted to present him as a smart commander who takes advantage of the alliance's collapse.[4][12][31] Inspiration for the character was drawn from folklore legends such as Excalibur and stories of an underling rising to power.[12][31] While the Banished have been referenced in previous Halo media, Halo Wars 2 marks their debut as the primary enemy faction.[4] Real-world events and historical mercenary groups were a creative source for designing the Banished.[31] From the beginning, Isabel was designed to exhibit flawed behavior to distinguish her from other AI characters in the series. Ellen Ripley in the 1986 film Aliens was a particular influence for her characterization.[32]
Art director Jeremy Cook thought maintaining readability and clarity of the units and combat space was the highest priority of the game's art direction. He also wanted to make sure the visual style remained consistent with the Halo universe, by preserving the recognizable traits of the units and structures. The Banished's art style was designed to contrast visually with the UNSC. Cook wanted the Banished to be reminiscent of the Covenant but with a greater emphasis on the aesthetic of the Brute species.[33] Existing Brute vehicles and weapons helped influence the design changes and creation of new technology in the Banished's arsenal.[34]
The in-game cutscenes for Halo Wars 2 were created by animation company Blur Studio;[10] they previously created cutscenes for some Halo games, including the original Halo Wars.[35] The scenes were directed by Dave Wilson, who was the visual effects supervisor on the Halo Wars cutscenes.[17] 343 Industries explained that alterations to the appearance of returning characters were a result of upgraded technology, the use of performance capture, and casting new actors.[8] Wilson said advances in technology allowed the animation team to capture body motion, facial motion, and audio simultaneously for Halo Wars 2, unlike during the development of Halo Wars where each of these performances was recorded separately and later combined.[36]
Two open multiplayer betas ran during the production of Halo Wars 2 so the development team could gather data and make adjustments based on community feedback.[37][38] The first ran on Xbox One from June 13–23, 2016,[39] and included the Deathmatch and Domination game modes.[10] A second beta featuring the Blitz mode ran from January 20–30, 2017, on Windows and Xbox One.[37] Players earned rewards for Halo 5: Guardians for participating in the first beta and Blitz card packs for participating in the second beta.[10][37] Changes made to game following the betas included resolving connectivity issues, tuning the gameplay, and adjusting the control scheme and user interface.[38][40]
Audio[edit]
Paul Lipson served as audio director on Halo Wars 2. The game's soundtrack was composed by Gordy Haab, Brian Lee White and Brian Trifon.[41] White and Trifon had collaborated with Lipson on the music of previous Halo projects, such as Halo: The Master Chief Collection and the Halo Channel application.[41][42] The composers analyzed design documents, artwork, and early versions of the game to learn about the story and motivations of characters. This research helped them to determine the emotional tone and instrumental choices for the music. They wanted to incorporate the customary components of Halo scores such as the use of a large orchestra, a choir, and electronic music, while also taking the music in a new direction.[41] As Halo Wars 2 was considered a spin-off to the core Halo games, the composers were not as beholden to Martin O'Donnell's established sound of the series. This gave them the opportunity to experiment with the soundtrack and introduce elements like brass instruments to the music.[42]
The opening track of Halo Wars 2's soundtrack, "Recommissioned", is an adaption of the "Spirit of Fire" theme from the original Halo Wars soundtrack. The composers wanted to put their own style on this existing theme.[43] Specific melodies were written for each of the game's main characters to reflect their personalities.[41][42] For example, the track "Run Little Demons" made use of tribal drums, electronic percussion, and heavy brass to capture the dread and terror induced by Atriox and the Banished.[42] To generate an array of emotional effects, different instruments were used to create variations of the character themes.[41] One goal was to have the music dynamically interact with dialogue and gameplay.[42] The composers created music of different intensity levels to correspond with the player's actions in the game. For example, low intensity, ambient music would play during base construction and more percussive, thematic music would play during battles. A system was designed to adapt the score based on events occurring during gameplay and to prevent the music from becoming repetitive.[41] The composers worked closely with Lipson and Creative Assembly's audio lead, Sam Cooper, on the implementation of the interactive audio.[43] The live orchestra was recorded at the Newman Scoring Stage at 20th Century Fox's studio in Los Angeles.[42] The Halo Wars 2 Original Game Soundtrack, featuring 21 tracks, was released in retail stores on February 17, 2017, and digitally on February 21, 2017.[44]
Marketing and release[edit]
Halo Wars 2 demo booth at Gamescom 2016.
At Gamescom in August 2015, Microsoft Studios announced Halo Wars 2 for Windows PCs and the Xbox One video game console.[19] Trailers featuring cinematics from the game were released from the announcement of the game up to its launch. The announcement trailer at Gamescom 2015 showed an injured UNSC soldier being dragged away and Atriox taunting.[45] The trailer shown at E3 2016 was created by Blur Studio,[33] and depicted the leaders of both factions—Cutter and Atriox—facing off as their forces are engaged in conflict.[4][33] At RTX 2016, 343 Industries revealed a teaser of the in-game cinematics, illustrating Spirit of Fire's arrival at the Ark and Spartan supersoldiers encountering the Banished.[46][47] At The Game Awards 2016, a trailer focusing on Atriox's background and motives was presented.[31] On February 9, 2017, Microsoft released two live action trailers showing Cutter and Atriox confronting each other in comedic real-life scenarios.[48] Multiplayer modes from the game were available to play at a number of video gaming conventions and expos including E3,[10] RTX,[49] Gamescom,[50] and Paris Games Week.[51] 343 Industries and toy maker Mattel announced a partnership to create a new line of Halo toys based on Halo Wars 2.[52][53] In August 2017, Dark Horse Comics published the first issue of Halo: Rise of Atriox, a five-chapter comic book limited series about the games' primary antagonist.[54][55]
Halo Wars 2 was initially scheduled to be released for Windows and Xbox One in 2016,[19] however it was delayed until February 21, 2017.[56] It is the first Halo game to launch simultaneously on console and PC.[6] The game was released as part of the Xbox Play Anywhere program which allows a digital purchase to be playable on both Windows and Xbox One.[8][10] THQ Nordic handled distribution of the European retail PC release.[57][58] An Ultimate Edition version of the game included a downloadable content (DLC) season pass, access to the game four days early, and a copy of Halo Wars: Definitive Edition—an enhanced version of the original game for Windows and Xbox One.[59] Halo Wars 2 debuted in second place on the UK's weekly retail sales chart.[60]
Following the launch of Halo Wars 2, a demo, featuring the campaign's opening mission and the Blitz Firefight mode, was released on the Xbox One and Windows.[61][62] 343 Industries and Creative Assembly supported Halo Wars 2 post-release with additional content and updates.[63] A multiplayer ranking system was withheld from the game at launch as the development team wanted gameplay to be as balanced as possible before its release.[64] The DLC included new units, leaders, Blitz cards,[51] and two extra campaign missions.[65] The content was distributed on a monthly basis beginning in March 2017.[66] A campaign expansion, Awakening the Nightmare, was revealed on June 12, 2017,[67] and released on September 26, 2017.[9] It also features new leaders, maps, and a cooperative mode.[67] In late October 2017, Halo Wars 2 received a number of visual enhancements for the Xbox One X. Additionally, cross-platform play between console and PC was enabled.[68]
Reception[edit]
Reception
Aggregate score
Aggregator
Score
Metacritic 70/100 (PC)[69]
79/100 (XONE)[70]
Review scores
Publication
Score
GameSpot 6/10[1]
GamesRadar+ [71]
IGN 7.0/10[2]
PC Gamer (US) 65/100[72]
Polygon 8/10[73]
USgamer [11]
The Xbox One version of Halo Wars 2 received "generally favorable" reviews from professional critics, while reception towards the PC version was more "mixed or average" according to review aggregator website Metacritic.[69][70] The general consensus among critics was that Halo Wars 2 provided an accessible strategy game experience befitting newcomers but that it either lacked tactical depth or was too conservative in its design to appease veteran RTS players who had access to alternatives on PC.[1][2][72][74][7][11][71] Several writers recommended the game to console players, in part due to the dearth of RTS games on Xbox One.[2][74]
AI behavior in Halo Wars 2 drew some criticism. A few reviewers described the pathfinding of units as substandard,[74][7] and others considered the enemy AI to be too easy and not very smart on the normal difficulty setting.[1][73] IGN disliked that bases had to be placed in predetermined locations; they found it to be limiting and said it constrained build order freedom.[2] Rock, Paper, Shotgun was also concerned about the restrictions on base building initially, however they became fond of the idea after playing the game for some time.[7]
Critics thought the enhancements made to the gamepad control scheme were smart and welcomed additions like controls groups.[1][2][72][74] In some cases they still regarded the gamepad as a suboptimal control method, largely due to the nature of analog sticks being imprecise in comparison to a mouse.[2][73] This led to some frustration among several writers as they were unable to avoid enemy attacks because maneuvering units was slow with a gamepad.[2][73][11] While the mouse and keyboard controls were seen as superior for performing precise actions quickly, some reviewers considered the control method to be unpolished and believed concessions had been made for the gamepad.[2][72][73][7] The unresponsive minimap, unintuitive default keybindings, and unfitting radial menus were highlighted as problems with the mouse and keyboard controls.[2][72][73][74]
The game's campaign received mixed impressions from reviewers. USgamer thought it was great for teaching the mechanics of the game and the progression of difficulty was reasonable.[11] GameSpot thought the highest points of the campaign missions were the sequences that borrowed elements from the main Halo games.[1] Rock, Paper, Shotgun stated that while the campaign was brief, it had good pacing and there was a decent variety of objectives and scenarios.[7] IGN agreed that the campaign missions offered enough variety to prevent them from becoming repetitive. However, overall they were unimpressed by the campaign missions, which they perceived as unambitious in their design. They were also surprised by the frequent bugs, which included crashing and mission events failing to trigger, that they experienced during their playthrough of the campaign on the Xbox One.[2]
Some reviewers enjoyed the game's story but many pointed out that the campaign's conclusion was anticlimatic due to its abrupt and unresolved ending.[1][72][73][7][11] GameSpot found the plot to be interesting because it explored different parts of the Halo universe. They also felt the integration of the narrative with the campaign missions was effectively implemented through the cutscenes and pre-fight dialogue. However, they remarked that characters were underdeveloped and the story did not contribute much to the main Halo arc.[1] IGN thought Isabel was an endearing and emotive character that bolstered the fear induced by the game's antagonist. They enjoyed Atriox's strong introduction but felt the character became less prominent as the story progressed.[2] Despite believing that there was potential for an interesting backstory with Atriox and the Banished, Eurogamer viewed the motives of the faction in the campaign as being too similar to the Covenant, which consequently made the story feel like it was retreading familiar territory.[74] Reactions towards the campaign cutscenes were overwhelmingly positive, with plenty of praise directed towards the high quality production and exceptional animation.[1][2][72][73][74][7][11][71] While the character dialogue was noted as being cheesy at times, the expressive facial animations kept the cinematics captivating.[1]
PC Gamer complimented the variety of multiplayer game modes available.[72] This sentiment was shared by other reviewers who thought the multiplayer offering was considerably more diverse than what was typically available in most RTS games.[2][74] Numerous critics regarded Blitz to be the standout multiplayer mode, however they were still apprehensive about its shortcomings.[72][74][7][71] GamesRadar called Blitz the most forward-thinking area of Halo Wars 2, in contrast to other parts of the game which they thought were formulaic.[71] Other writers agreed the mode was an interesting twist on RTS and enjoyed playing it.[72][11][2][74][1] While Blitz card packs could be earned through playing the game, critics still expressed disappointment about the inclusion of microtransactions for purchasing card packs.[74][11] A couple of reviewers suspected that winning games in Blitz may be too reliant on the luck of the draw.[2][72] Consequently, the randomness and card mechanics in the mode were thought to be unsuitable for competitive multiplayer but fitting for the Firefight variant.[2]
Accolades[edit]
Year
Award
Category
Result
Ref
2016 Game Critics Awards Best Strategy Game Nominated [75]
Gamescom 2016 Best Strategy Game Nominated [76]
2017 Gamescom 2017 Best Add-On/Downloadable Content Nominated [77]
Develop Awards Visual Design Nominated [78]
Sound Design Nominated
Golden Joystick Awards Studio of the Year (Creative Assembly) Nominated [79]
Xbox Game of the Year Nominated
Hollywood Music in Media Awards Original Score - Video Game Nominated [80]
The Game Awards 2017 Best Strategy Game Nominated [81]
2018 21st Annual D.I.C.E. Awards Strategy/Simulation Game of the Year Nominated [82]
16th Annual Game Audio Network Guild Awards Sound Design of the Year Nominated [83]
Best Interactive Score Nominated
Best Cinematic/Cutscene Audio Nominated
Best Audio Mix Nominated
ASCAP Composers' Choice Awards 2017 ASCAP Video Game Score of the Year Nominated [84][85]
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Jump up ^ Keefer, John (August 5, 2015). "Halo Wars Lead Designer Says Interface Key to Sequel Success". The Escapist. Archived from the original on September 7, 2015. Retrieved March 5, 2017.
^ Jump up to: a b Smith, Edward (October 13, 2016). "Studio Profile: 343 Industries". Edge. No. 300. Future Publishing. pp. 94–97. ISSN 1350-1593.
^ Jump up to: a b Wolfkill et al. 2016, 50:22.
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^ Jump up to: a b Dring, Christopher (January 19, 2017). "A whole new battlefield: Why Creative Assembly wanted to make Halo Wars 2". Gamesindustry.biz. Archived from the original on February 16, 2017. Retrieved March 5, 2017.
^ Jump up to: a b Batchelor, James (August 7, 2015). "Halo Wars 2 'will not be Total War: Halo'". Market for Home Computing and Video Games. Archived from the original on December 6, 2015. Retrieved March 5, 2017.
Jump up ^ Makuch, Eddie (January 18, 2017). "Halo Wars 2 Release Date Nearing as Game Goes Gold". GameSpot. Archived from the original on February 14, 2017. Retrieved March 5, 2017.
^ Jump up to: a b Bratt, Chris (January 19, 2017). "Halo Wars 2 benefits from the experience of Creative Assembly". Eurogamer. Archived from the original on February 16, 2017. Retrieved March 5, 2017.
^ Jump up to: a b Lawrence, Nathan (November 25, 2016). "Interview: Dan Ayoub and David Nicholson on Halo Wars 2". PC PowerPlay. Archived from the original on February 18, 2017. Retrieved March 5, 2017.
^ Jump up to: a b Wolfkill et al. 2016, 10:42.
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^ Jump up to: a b c Easterling, Jeff (June 18, 2016). "Surface Features". Halo - Official Site. Archived from the original on June 18, 2016. Retrieved March 5, 2017.
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Jump up ^ Wolfe, Jennifer (August 5, 2015). "Blur Studio Creates 'Halo Wars 2' Teaser Trailer". Animation World Network. Archived from the original on October 31, 2015. Retrieved March 5, 2017.
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^ Jump up to: a b c Makuch, Eddie (January 11, 2017). "New Halo Wars 2 Beta Starts Soon, Here's How to Play and What's in It". GameSpot. Archived from the original on January 11, 2017. Retrieved March 5, 2017.
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^ Jump up to: a b Dudynsky, Andy (October 28, 2016). "Halo-Ween Handoff". Halo - Official Site. Archived from the original on October 31, 2016. Retrieved March 5, 2017.
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^ Jump up to: a b c d e f g h i j k Johnson, Lief (February 21, 2017). "Halo Wars 2 review". PC Gamer. Archived from the original on February 24, 2017. Retrieved March 5, 2017.
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Jump up ^ "Hollywood Music in Media Awards: Full Winners List". The Hollywood Reporter. November 17, 2017. Archived from the original on December 8, 2017. Retrieved March 14, 2018.
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Jump up ^ "2018 Awards". Game Audio Network Guild. Archived from the original on April 14, 2018. Retrieved April 14, 2018.
Jump up ^ "Vote in the 2018 ASCAP Composers' Choice Awards!". American Society of Composers, Authors and Publishers. April 9, 2018. Retrieved April 23, 2018.
Jump up ^ "Prolific Film Composer John Powell Recognized With ASCAP Henry Mancini Award; Composer And Songwriter Germaine Franco Receives ASCAP Shirley Walker Award At 2018 ASCAP Screen Music Awards". PR Newswire. May 24, 2018. Archived from the original on May 24, 2018. Retrieved May 24, 2018.
Videos[edit]
Wolfkill, Kiki; O'Connor, Frank; Soto, Erika; Ayoub, Dan; Wilson, Dave; Grace, Kevin (July 26, 2016). Halo Wars 2 Panel – San Diego Comic-Con 2016. Halo - YouTube. Retrieved March 5, 2017.
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Anne of Green Gables (1985 film)
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Anne of Green Gables
DVD cover
Written by
Lucy Maud Montgomery (original novels)
Kevin Sullivan (adaptation)
Joe Wiesenfeld (adaptation)
Directed by
Kevin Sullivan
Starring
Megan Follows
Colleen Dewhurst
Richard Farnsworth
Patricia Hamilton
Marilyn Lightstone
Schuyler Grant
Jonathan Crombie
Theme music composer
Hagood Hardy
Country of origin
Canada
Original language(s)
English
Production
Producer(s)
Ian McDougall
Kevin Sullivan
Running time
199 minutes (approx.)
Release
Original network
CBC
Original release
December 5, 1985 (Canada)
February 17, 1986 (U.S.)
Chronology
Followed by
Anne of Avonlea
Anne of Green Gables is a 1985 Canadian television mini-series drama film based on the novel of the same name by Canadian author Lucy Maud Montgomery, and is the first in a series of four films. The film starred Megan Follows and was produced and directed by Kevin Sullivan for the Canadian Broadcasting Corporation. It was released theatrically in Iran, Israel, Europe, and Japan.
The film aired on CBC Television as a two-part mini-series on December 1 and December 2, 1985. Both parts of the film were among the highest-rated programs of any genre ever to air on a Canadian television network. On February 17, 1986, the film aired on PBS in the United States on the series WonderWorks.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Sequels and spin-off TV series
4.1 Film series
4.2 TV series
4.3 Other productions
5 Awards and nominations
6 Home media
7 Lawsuits
8 Trademark and copyright
9 References
10 External links
Plot[edit]
A 13-year-old orphan, Anne Shirley, is living in servitude with the cruel Hammond family in Nova Scotia. However, when Mr. Hammond dies, Anne is sent to an orphanage where she eventually receives the wonderful news that she has been adopted by a couple on Prince Edward Island (P.E.I). Upon arriving in P.E.I, Anne is met at the train station by an elderly Matthew Cuthbert who is surprised to find a girl there instead of a boy.
Matthew and his sister Marilla had requested a boy to help them with the farm chores. He decides that he couldn’t very well just leave the girl at the train station. Matthew takes Anne to meet Marilla and on the buggy ride home becomes completely smitten with the red-haired orphan girl.
When Anne Shirley arrives at the Cuthberts' farm, called "Green Gables", she is a precocious, romantic child desperate to be loved and highly sensitive about her red hair and homely looks. In her own unique headstrong manner, Anne manages to insult the town gossip, Rachel Lynde, in a dispute over her looks; smash her slate over Gilbert Blythe’s head when he calls her "Carrots" on her first day of school; and accidentally dyes her hair green in an effort to turn her red hair black and salvage her wounded pride.
Marilla Cuthbert is shocked and beside herself to know how she will ever cope with this sensitive, headstrong child so desperate to fit in. But shy, gentle Matthew is always there to defend Anne and hold her up on a pedestal.
It seems like Anne is destined to cultivate disaster. She becomes "bosom" friends with Diana Barry from across the pond and succeeds in getting Diana drunk by accidentally serving currant wine instead of raspberry cordial at a tea party. Diana’s mother and Rachel Lynde turn on Marilla for making wine in the first place. Anne moves from one mishap to the next as her wild imagination and far-fetched antics combine to constantly land her in trouble.
Anne finds her element in the academic world, ultimately competing neck and neck with Gilbert Blythe who becomes her arch opponent. Anne and Gilbert go on to win the highest academic accolades, constantly vying for honors at every level. Eventually their fierce rivalry turns to a secret affection, which blossoms into love.
Marilla tries to prevent Anne from seeing Gilbert because Anne is still quite young and Marilla wants Anne to continue her education. In the end, however, when Matthew dies and forces Marilla into considering selling Green Gables, Gilbert gives Anne his teaching post in nearby Avonlea so she can stay at Green Gables and continue to support Marilla.
Cast[edit]
Megan Follows – Anne Shirley
Colleen Dewhurst – Marilla Cuthbert
Richard Farnsworth – Matthew Cuthbert
Patricia Hamilton – Rachel Lynde
Marilyn Lightstone – Miss Stacy
Schuyler Grant – Diana Barry
Jonathan Crombie – Gilbert Blythe
Charmion King – Aunt Josephine Barry
Jackie Burroughs – Amelia Evans
Rosemary Radcliffe – Mrs. Barry
Joachim Hansen – John Sadler
Christiane Kruger – Mrs. Allan
Cedric Smith – Rev. Allan
Paul Brown – Mr. Phillips
Miranda de Pencier – Josie Pye
Trish Nettleton – Jane Andrews
Jennifer Inch – Ruby Gillis
Jayne Eastwood – Mrs. Hammond
Dawn Greenhalgh – Mrs. Cadbury
Jack Mather – Station Master
Samantha Langevin – Mrs. Blewett
Vivian Reis – Mrs. Spencer
Mag Ruffman – Alice Lawson
Sean McCann – Dr. O'Reilly
Roxolana Roslak – Madame Selitsky
Robert Haley – Professor
Robert Collins – Mr. Barry
Morgan Chapman – Minne May Barry
David Roberts – Tom
Nancy Beatty – Essie
David Hughes – Thomas Lynde
Wendy Lyon – Prissy Andrews
Zack Ward – Moody Spurgeon MacPherson
Anna Ferguson – Punch Woman
Rex Southgate – Section Head
Julianna Saxton – Pink Woman
Molly Thom – Lace Woman
Jennifer Irwin – Student
Sandra Scott – Mrs. Harrington
Peter Sturgess – Porter
Ray Ireland – Mr. Hammond
Martha Maloney – Fairview Nurse
Stuart Hamilton – Mme. Selitsky's Accompanist
Production[edit]
Kevin Sullivan adapted the novel into his own screenplay, collaborating with industry veteran Joe Wiesenfeld. Sullivan developed a co-production between the CBC and PBS in order to film Anne of Green Gables. Sullivan amalgamated many of Montgomery’s episodes into the film's plot. While the film diverged from Montgomery’s original, he relied on strong characterizations and visuals in order to render the story for a contemporary audience.
Primary locations for filming the movie included Prince Edward Island, Stouffville, Ontario, Jacksons Point, Ontario, and Westfield Heritage Village in the Hamilton, Ontario neighbourhood of Rockton. Filming was done over a consecutive ten-week shoot. Sullivan used several locations as Green Gables farm and combined them to appear as one property.
The original film and sequels (including Road to Avonlea and the animated Anne films and series covering over 130 hours of production) have been seen in almost every country around the world. The films have now been translated and seen in more places than even the original novels.
During filming of the original movies an open casting call was held throughout Canada in order to find a young actress to play Anne Shirley. Katharine Hepburn recommended that her great niece, Schuyler Grant, play the role of Anne Shirley. Director Kevin Sullivan liked Grant’s performance and wanted to give her the role. However, broadcast executives were resistant to cast an American as a Canadian icon. Schuyler Grant ended up playing Anne’s best friend, Diana, and Anne Shirley was ultimately played by Megan Follows.
In her first audition, Megan Follows came highly recommended. But, she was quickly dismissed by Kevin Sullivan. For her second audition, after a turbulent morning leading up to her audition, a frantic Megan made a much better impression and was given the role.[1]
Sequels and spin-off TV series[edit]
Film series[edit]
Main articles: Anne of Avonlea (1987 film), Anne of Green Gables: The Continuing Story, and Anne of Green Gables: A New Beginning
Anne of Green Gables is the first film in a series of four based on the titular character. In 1987, the film's sequel, Anne of Avonlea, was released. (It was subsequently retitled Anne of Green Gables: The Sequel on home video.) The final movie, Anne of Green Gables: The Continuing Story, was aired on March 5, 2000 in Canada and on July 23, 2000 in the United States. The final film passed over Anne's House of Dreams – the corresponding Anne novel – in favor of a plot not featured in Montgomery's series, and did not receive the same critical praise as the first two films. In 2008, the fourth in the series, titled Anne of Green Gables: A New Beginning was completed. The film stars Barbara Hershey, Shirley MacLaine, and Rachel Blanchard and it introduces Hannah Endicott Douglas as the new Anne Shirley. The film is both a sequel and a prequel to Sullivan's trilogy.
TV series[edit]
The first two Anne films generated a spin-off television series which aired from 1989 to 1996 and starred Sarah Polley. The Road to Avonlea series featured characters and episodes from several of Montgomery's books. Anne herself did not appear in the episodes, but Gilbert Blythe, Marilla Cuthbert, and other characters from the Anne books were included.
Other productions[edit]
In 2000 – 2001, Sullivan Animation produced Anne of Green Gables: The Animated Series consisting of 26 half-hour episodes. The series was developed for PBS and each episode contained an educational and/or moral component. In 2005, Sullivan Animation also produced the feature-length animated film Anne: Journey to Green Gables which is an imaginative, whimsical prequel to Sullivan's live action Anne of Green Gables film.
A year after the mini-series originally aired, Canadian comedy duo Wayne and Shuster created and starred in a parody entitled Sam of Green Gables, in which a curmudgeonly old man named Sam is sent to Green Gables instead of Anne.
Awards and nominations[edit]
The film swept the 1986 Gemini Awards, winning the following:
Best Dramatic Miniseries
Best Actress in a Single Dramatic Program or Miniseries: Megan Follows
Best Supporting Actor: Richard Farnsworth
Best Supporting Actress: Colleen Dewhurst
Best Writing (TV Adaptation): Kevin Sullivan and Joe Wiesenfeld
Best Music Composition: Hagood Hardy
Best Costume Design: Martha Mann
Best Photography: René Ohashi
Best Production Design/Art Direction: Carol Spier
Most Popular Program
The film was also nominated for Best Direction in a Dramatic Program or Mini-Series and Best Picture Editing in a Dramatic Program or Series.
The series also won an Emmy Award in 1986, for Outstanding Children's Program.
Other Awards
Peabody Award – to Kevin Sullivan for Outstanding Contribution to Broadcasting in the United States, 1986
Prix Jeunesse: Best Drama, 1988 (Germany)
TV Guide Award: Most Popular Program, 1986
Grand Award – International Film and Television, New York
Emily Award – American Film and Video Festival, 1986
Macleans Medal of Merit – Macleans Magazine, 1986
Chris Award – Columbus International Film Festival, 1986
Silver Hugo Award – Chicago International Film Festival, 1986
International TV Movie Festival: Nomination for Movie of the Year, 1986
American TV Critics Award: Best Drama, 1986
Grant Award: Best TV Program, Houston International Film Festival, 1987
Golden Gate Award – San Francisco Film Festival, 1986
CRTA Award: Outstanding Personal Achievement in TV, 1986
Ohio State Award – Performing Arts and Humanities Award, 1987
First Prize – Odyssey Institute Media Award, 1987
The Ruby Slipper: Best Television Special, 1987
Parents Choice Award – Parents Choice for TV Programmings, 1987
Excellence in Programming – Award from Association of Catholic Communications in Canada, 1987
Golden Apple Award – Best of National Educational Film and Video Festival, 1987
Home media[edit]
The Anne of Green Gables series was released on DVD in a collector's edition set on February 5, 2008 in the U.S., April 29, 2008 in Canada and Japan and on September 22, 2010 in Hungary. The set is the most comprehensive edition of all three movies ever released. In addition to the series, it also includes several DVD extras such as feature length commentary from director Kevin Sullivan and Stefan Scaini, 2 New Documentaries: L.M. Montgomery's Island and Kevin Sullivan's Classic featuring new cast and crew interviews, missing scenes, lost footage and a condensed, 10-minute version of the missing "Road to Avonlea" episode "Marilla Cuthbert's Death".
In 2016, Sullivan Entertainment announced it would launch their own streaming service called Gazebo TV that would feature the Anne of Green Gables series among other titles produced by the company. The service launched in early 2017.[2]
Lawsuits[edit]
In 1908 Lucy Maude Montgomery signed a contract with the LC Page Co. in Boston that permitted them to publish all of her books for 5 years on the same terms: the main terms were a 10% royalty and world rights to all of the author's books;part it also included the right to publish all of her future works. The relationship with Pageant actually spanned nearly ten years and resulted in the publication of nine novels and collections of short stories. However, when Montgomery contracted with a Canadian publisher (McClelland, Goodchild and Stewart), LC Page claimed that they had the exclusive rights to her new books and threatened to sue her. Montgomery instead took LC Page to court to recover withheld royalties.[3]
The lawsuit resulted in a settlement in 1919 whereby LC Page bought out all of Montgomery's rights to all of her novels published by them. The settlement excluded any reversionary rights that might become due for the benefit of either her or her heirs if such rights were to become enacted.[4][5] The settlement paid Montgomery a flat sum of $18,000; at the time an amount she would have expected to see earned from her works during her lifetime.[3]
Sullivan purchased dramatic rights from the Montgomery's heirs in 1984, believing that they owned reversionary rights that had come into place as a result of changes to the copyright act subsequent to Montgomery's death.[6]
After Sullivan's films were successful around the world and brought legions of tourists to Prince Edward Island the Montgomery heirs established an Anne of Green Gables Licensing Authority with the Province of Prince Edward Island to control trademarks to preserve Montgomery's works, through the mechanism of official trademarks.[3][7] The heirs and the AGGLA became successful at asserting control over the booming Anne-themed tourist industry that the province enjoyed, because of the lack of clarity about the different protections afforded by copyright, trademark and official marks in Canada.[7]
AGGLA and the heirs tried to assert control over trademarks Sullivan had established to their various Anne movies (Anne of Green Gables, Anne of Avonlea, Anne of Green Gables—the Continuing Story) and Road to Avonlea properties both in Canada, the US and Japan.[7]
A Japanese court then determined that the heirs were not entitled to the reversionary rights that they claimed they had sold to Sullivan and that the AGGLA was set up for pursuing private interests and not for serving public interests such as maintaining or managing the value, fame or reputation of the literary work, the author or even the main character of Anne. The Court determined that the AGGLA was the heirs' private profit-seeking enterprise as far as its activities were concerned.[4][5]
Sullivan and the heirs came into further conflict during the 1990s. Sullivan was sued by the heirs. Their contractual agreement with Sullivan said that he would pay them a flat $425,000 (CAD) fee for the right to adapt the first book (and another $100,000 to do the second movie, Anne of Avonlea), plus 10% of the profits of Anne 1 and 5% of the profits of Anne 2. The contract also gave them the right to examine Sullivan Entertainment's financial records. However, when Sullivan claimed that neither of the movies had earned a net profit and (the heirs assert) refused to allow them to audit his books[citation needed], they served a claim against him.[8][9] Sullivan argued that the heirs and the AGGLA had enjoined the films by usurping the Sullivan trademarks and drastically reduced the profitability of the ventures.[7][9] The heirs staged a press conference in 1998 at exactly the time when Sullivan was about to close a public offering to take his company public, to force Sullivan to pay them further receipts. The offering however was pulled by the underwriters and Sullivan counter-sued for libel, insisting that the heirs should pay damages of $55 million to all parties involved.[8][9] A Superior Court of Ontario judge dismissed his suit on January 19, 2004.[10][11][12] The Montgomery heirs subsequently dropped their claim for Sullivan to pay them any royalties however a settlement between Sullivan, the Montgomery heirs and the AGGLA was reached in 2006 to deal with all of their outstanding disagreements.[5] Although Kevin Sullivan's works were initially based upon the works of Montgomery, Sullivan developed most of his successful Anne-related film properties (Anne of Avonlea, Anne -the Continuing Story, Anne – A New Beginning and Road to Avonlea) based on original material, not directly adapted from Montgomery's books.[3] Many questions have been raised in court as to the author’s heirs’ rights in her copyright. The heirs have tried to extend the copyright in Montgomery's unpublished works until 2017 but lost that opportunity in 2004 when the Canadian Parliament rejected the provision they had pursued so ardently for the unpublished works of dead authors.[13] In a Japanese court decision which addressed the heir’s challenge to the validity of Sullivan’s ownership of Japanese trademark’s in the movie property, the Japanese High Court commented on the heirs' entitlement to reversionary copyright which formed the basis of the rights that the family claimed to have sold to Sullivan. The Court stated that the heirs' reversionary copyright was non-existent and that there was no need for Sullivan or any other entity to account to the heirs for the use of the trademark in Japan.[4][5]
The Court stated: "It is not clear from a legal point of view why permission from the heirs of the author or its related entity the Anne of Green Gables Licensing (AGGLA) authority was necessary."[4]
The Japanese Court also extensively scrutinized whether the copyright in the book Anne of Green Gables had ever devolved to the heirs and called for extensive filing of evidence on this point. Sullivan filed an original 1919 agreement between Montgomery and L.C. Page & Co. which specifically excluded the heirs’ reversionary claims. Montgomery sold all of her publishing and copyright to her series of novels, in perpetuity, to her original American publisher in 1919, to the exclusion of her heirs.[4][5]
The Court further questioned whether the heirs' licensing authority was engaged in activities of sufficient public interest as to qualify as a controlling body of Montgomery's works. The Court stated: "...the possibility cannot be denied that the Anne of Green Gables Licensing Authority is the heirs' private profit-seeking enterprise as far as the activities with which the heirs of the subject case are involved are concerned. It is not proved from the evidence submitted in the subject case that the Anne of Green Gables Licensing Authority is involved in activities of public interest that are sufficient for the Anne of Green Gables Licensing Authority to be qualified as the owner of the registration of the subject mark as a controlling body of the subject literary work."[4][5]
Trademark and copyright[edit]
After recent speculation as to who owned the copyrights and trademarks concerning Anne of Green Gables today, there are principally two entities that control rights relating to Anne of Green Gables. The Anne of Green Gables Licensing Authority (AGGLA – which includes Lucy Maude Montgomery’s heirs and the Province of Prince Edward Island)[14] and Sullivan Entertainment (the producers of the well-known films and TV series based on Montgomery’s novels).[15]
The Anne of Green Gables Licensing Authority controls certain exclusive trademarks relating to Anne of Green Gables commercial merchandise and service related to Montgomery's literary works and any copyright in the Montgomery books which have not reverted to the public domain.[14]
Sullivan Entertainment Inc, under agreement with the Anne of Green Gables Licensing Authority, retains all of the dramatic copyright and motion picture copyright in over 125 hours of their original movies, mini-series and television series based on both the Anne and Avonlea series of novels and certain trade-marks relating to Sullivan sourced Anne of Green Gables merchandise and services. Sullivan's use of the Anne of Green Gables trademarks extends from motion picture products and books, DVDs, CDs etc. to all commercial merchandise related to Sullivan’s films and television series based on their visual images, costume and production designs, settings, themes and original characters. Sullivan Entertainment also solely controls the commercial trademarks to Anne of Avonlea, Anne of the Island, and Road to Avonlea.[16]
References[edit]
Jump up ^ Heilbron, Alexandra (1999). Lucy Maud Montgomery Album. pp. 346–347. ASIN 1550413864. ISBN 978-1550413861. CS1 maint: ASIN uses ISBN (link)
Jump up ^ "Gazebo TV - Anne of Green Gables". gazebotv.com. Retrieved 2018-03-05.
^ Jump up to: a b c d McCabe, Kevin. The Lucy Maud Montgomery Album. Fitzhenry and Whiteside. p. 544. ASIN 1550413864. CS1 maint: ASIN uses ISBN (link)
^ Jump up to: a b c d e f Japanese court verdict
^ Jump up to: a b c d e f C21 report on court case
Jump up ^ Hall, Lucie (October 1985). "The Stubbornness of Kevin Sullivan". Cinema Canada (123).
^ Jump up to: a b c d Slane, Andrea (2011). "Sullivan Entertainment Inc. v Anne of Green Gables Licensing Authority Inc" (PDF). McGill Law Journal. Retrieved 24 October 2012.
^ Jump up to: a b Chidley, Joe (August 1999). "Let's Call the Whole Thing Off". Canadian Business. 72 (13).
^ Jump up to: a b c Tony Atherton (July 21, 1999). "Anne of Red Ink". Ottawa Citizen.
Jump up ^ Judge throws out case against Montgomery's heirs, The Globe and Mail, January 20, 2004
Jump up ^ Sullivan Entertainment Group Inc. v. MacDonald Butler, 2004 CanLII 8939 (ON S.C.)
Jump up ^ The case can be found here [1].
Jump up ^ Girard, Michael (April 26, 2004). "Canadian Parliament rejects Copyright extension" (PDF). E-Lawg-IP. Retrieved 24 October 2012.
^ Jump up to: a b "The Anne of Green Gables Licensing Authority Inc." "The Government of Prince Edward Island". Retrieved 25 July 2013.
Jump up ^ "The Anne of Green Gables Licensing Authority Inc." "Innovation PEI". Retrieved 26 July 2013.
Jump up ^ "Trademark & Copyright Archived 2016-03-06 at the Wayback Machine.", Sullivan Entertainment. Retrieved 25 July 2013.
External links[edit]
The L.M. Montgomery Literary Society This site includes information about Montgomery's actual works (not reinterpreted), her life, and new research in the newsletter, The Shining Scroll.
The Official Anne of Green Gables Movie Website – The official website of Sullivan series of Anne of Green Gables movies
Watch Anne of Green Gables online – The official Streaming Platform for Anne of Green Gables movies
Sullivan Entertainment Website – The Official website of Sullivan Entertainment. Includes a wealth of information on the Anne movies and it's spinoffs
Road to Avonlea Website – The official website for Road to Avonlea, the spinoff to the Green Gables series of movies
L.M. Montgomery Online This scholarly site includes a blog, a bibliography of reference materials, and a complete filmography of all adaptations of Montgomery texts. See, in particular, the page for Anne of Green Gables.
The Anne Shirley Homepage – A great resource for all Anne fans with galleries, fan art, timelines, recipes and calendars.
An L.M. Montgomery Resource Page[permanent dead link] – excellent resource on L.M. Montgomery and her legacy in film and television
Anne of Green Gables on IMDb
Anne of Green Gables at AllMovie
Anne of Green Gables Centenary – This site includes information about the centenary anniversary of Lucy Maud Montgomery’s Anne of Green Gables.

[show]
v
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The Anne of Green Gables series by L. M. Montgomery
Characters
Anne Shirley
Gilbert Blythe
Walter Blythe
Original novels
Anne of Green Gables (1908)
Anne of Avonlea (1909)
Anne of the Island (1915)
Anne of Windy Poplars (1936)
Anne's House of Dreams (1917)
Anne of Ingleside (1939)
Rainbow Valley (1919)
Rilla of Ingleside (1921)
Companion books
Chronicles of Avonlea (1912)
Further Chronicles of Avonlea (1920)
Before Green Gables (authorised prequel by Budge Wilson, 2008)
The Blythes Are Quoted (2009)
Films
Anne of Green Gables (1919)
Anne of Green Gables (1934)
Anne of Windy Poplars (1940)
Anne of Green Gables (1956)
Anne of Green Gables (1985)
Anne of Green Gables: The Sequel (1987)
Anne of Green Gables: The Continuing Story (2000)
Anne: Journey to Green Gables (2005)
Anne of Green Gables: A New Beginning (2008)
L.M. Montgomery's Anne of Green Gables (2016)
Television series
Anne of Green Gables (1972)
Anne of Avonlea (1975)
Anne of Green Gables (1979)
Road to Avonlea (1990-1996)
Anne of Green Gables: The Animated Series (2000)
Kon'nichiwa Anne: Before Green Gables (2009)
Anne (2017)
Stage
Anne of Green Gables: The Musical (since 1965)
Anne & Gilbert (since 2005)
Related articles
Avonlea
Green Gables
[show]
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t
e
Sullivan Entertainment
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Kevin Sullivan
Trudy Grant
Anne of Green Gables films
Anne of Green Gables (1985)
Anne of Avonlea (1987)
Anne of Green Gables: The Continuing Story (2000)
Anne of Green Gables: A New Beginning (2009)
Anne of Green Gables series
Road to Avonlea (1990–1996)
Anne of Green Gables: The Animated Series (2000)
Films
The Wild Pony (1983)
Looking for Miracles (1989)
Lantern Hill (1990)
The Piano Man's Daughter (1995)
Under the Piano (1995)
Butterbox Babies (1995)
Sleeping Dogs Lie (1998)
Magic Flute Diaries (2008)
Series
By Way of the Stars (miniseries, 1992)
Wind at My Back (1996–2001)
Seasons of Love (miniseries, 1999)
P.R. (2000)
Documentaries
Out of the Shadows (2012)
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