Now Tsargrad is poised to strike back after a landmark court ruling that could put Google’s entire Russian business in jeopardy as Moscow steps up attempts to force western technology companies to comply with its laws.
American Press is still amazed by how another country’s courts actively try to enforce that country’s laws to parties that do business in their respective jurisdiction. It will never cease to amaze me how normal it is for the (tech) Press (especially) to fathom that one can think a law is horrible but can’t be surprised that countries other than the US care to enforce their own law.
Finally – for a long time, many Ghosts ‘n Goblins fans thought Arthur’s underwear had hearts on it. Now, with the high-definition visuals of modern games we can see they’re actually strawberries.
As someone who wasn’t originally involved with the series, when did you discover they were strawberries, and were you as shocked as we were?
I asked the director about this during the project: “Was it hearts in some games and strawberries in others?” His reply was, “It’s always been strawberries.”
As you suggest, I was as surprised as anyone, and exclaimed “Oh, really?!” in response.
Not even later Capcom veterans had any idea till recently. I love it.
“With AmaZen I wanted to create a space that’s quiet, that people could go and focus on their mental and emotional well-being,” Leila Brown, the Amazon employee who invented the booth said in the video. “The ZenBooth is an interactive kiosk where you can navigate through a library of mental health and mindful practices to recharge the internal battery.”
This is how axe-throwing ends up becoming a therapeutic experience.
Remember when entry level TVs weren’t “smart” yet but sometimes cost as much or even a bit more than the cheapest Smart TV the same manufacturer had on the line up? This is why. The dumb one has to make money on its own sale. The smart one can always make money as it goes.
I was kind of surprised at how the New York Times seems to have as good a grasp of the games industry’s brush with Hollywood as I have of space walks. Let me explain.
After decades of game-to-film flops, a new effort, led by Sony, aims to adapt big PlayStation and Xbox franchises for movies and TV.
Not a mention of Nintendo? Kind of tough to pull that off while also namedropping Xbox.
For every “Lara Croft: Tomb Raider” (2001), which turned Angelina Jolie into an A-list action star, there has been a nonsensical “Max Payne” (2008), an abominable “Prince of Persia” (2010) and a wince-inducing “Warcraft” (2016).
Lara Croft: Tomb Raider might have been a bright spot revenue wise but how on earth is it considered an actual high point?
After years of inaction and false starts, for instance, Sony Pictures Entertainment and its PlayStation-powered sibling, Sony Interactive, are finally working together to turn PlayStation games into mass-appeal movies and television shows. There are 10 game adaptations in the Sony Pictures pipeline, a big leap from practically none in 2018.
It’s Sony Interactive Entertainment. Not Sony Interactive.
The ultimate goal is to make better use of Sony’s online PlayStation Network to bring Sony movies, shows and music directly to consumers. PlayStation Network, introduced in 2006, has more than 114 million monthly active users.
No. The ultimate goal is to produce films and shows that grow Sony’s gaming IP’s mainstream appeal, thus shoring up the games themselves and have the circle repeat itself. Sony has been making zero effective moves to turn out a PlayStation-branded store and streaming service for movies and shows. Sony has had numerous failed attempts over the years on that front, its latest attempt called “Core” is doomed by design and Sony Pictures has very, very fresh multi-year distribution deals with Netflix, Hulu and more for content that is impossible to land on a Sony-branded service for the duration of those contracts.
For a start, the games themselves have evolved, becoming more intricate and cinematic. “Games have stories that are so much more developed and advanced than they used to be,” Mr. Panitch said.
There are also signs that Hollywood has figured out how to make game-based films that satisfy both audiences and critics. “Pokémon Detective Pikachu,” which paired animated creatures with live actors, collected $433 million worldwide in 2019 for Warner Bros. and Legendary Entertainment — and was the first major game adaptation in three decades to receive a “fresh” designation on Rotten Tomatoes, the review-aggregation site.
As if the games were the cause of so many failed translations to the silver screen. Even the example of Pokémon Detective Pikachu is proof that’s not the case, as we very much know Nintendo won’t let anyone call the shots on how its own IP is portrayed. This was almost never the case since the first time Hollywood bothered with gaming IP.
Unlike in the past, when Sony Pictures and Sony Interactive pledged to work together and ultimately did not, the current collaboration “has weight because there is a win for everyone,” Mr. Qizilbash added. “We have three objectives. Grow audience size for games. Bring product to Sony Pictures. Showcase collaboration.”
It’s telling that an officially stated goal is to “show collaboration”. Sony Pictures has promised time and again to work with PlayStation and has never made anything out of it. To the point that PlayStation Productions had to be formed, not as part of Sony Pictures but as part of the gaming division and finally light a fire under Sony Picture’s proverbial ass. And don’t get me started on Sony and internal collaboration. Even its CEOs have complained about the difficulties faces trying to break long established silos. The last restructuring (as of April 1st, 2021) gives me hope at least. But I do know for a fact that the “One Sony” initiative that is being namedropped more openly the last couple of years started long, long, long a go as an internal initiative to persuade different divisions to not act like warring states and just learn to get along for the sake of the group.
I surely hope this is a turning point for Sony Group. But I surely don’t know what the New York Times are on about here.