Box office figures tell harsh tales. While Rogue One earned more than a billion dollars worldwide, Solo could not even crawl past 400 million dollars globally. The difference in narrative perspective explains the Death Star-sized revenue gap.
With Star Wars Episode VIII – The Last Jedi in the wings, why not ponder remaking the Prequels after Episode IX?
The latest entry in the so-called Alien-franchise disappoints as much as it frustrates the film market.
Continue reading “Alien: Covenant – Ridley does not honour his audience agreement [SPOILERS]”
Star Wars The Force Awakens is a Phantom Menace reboot. Time to break out that Jedi Holocron. [SPOILERS]
Continue reading “Star Wars: The Force Awakens reboots The Phantom Menace”
When I saw Star Wars: The Force Awakens on December 16th, 2015 I was perfectly oblivious to any advance publicity. It had all started in late October 2012, when news broke that Walt Disney Studios had taken over Lucasfilm and its many assets. Kathleen Kennedy was appointed chief officer of the once Lucas-helmed enterprise and quickly proceeded to start pre-production of the seventh Star Wars installment (whilst prepping the spin-off film Rogue One in secret) . This course of surprising events made me abandon, unfollow and ignore dozens of film-related websites and social media accounts. Old habits were instantly dropped and I started distancing myself inevitably from one of my favourite hobbies, the film industry. It is therefore that I had not seen a single second, millimeter or anything of the new Star Wars: The Force Awakens, whose midnight premiere I attended on said December 16th, 2015. I went in totally blank, here is how I received a film whose marketing machinery I had ignored with monkish patience.
The circle is now complete: from The Empire Strikes Back by Parker Brothers to the LEGO Star Wars series, the Retro Asylum podcast saga on Star Wars retrogaming is (almost) the next best thing to finally welcoming back Luke, Han and Leia in The Force Awakens. Switch off your targeting computer and let retro flow through you…
Brick Bambi has fully announced with the second video, of a C64 work in progress graphical adventure port of the “Indiana Jones and the Last Crusade ” Amiga, PC, Atari ST and Mac release. Excavate more important information AND videos here >>
For an in-depth analysis of the demise of movie tie-ins see Of Movie Tie-Ins and Joystick Storytellers: The Video and Computer Game Revolution that Devoured Hollywood http://www.obiwandi.at/?p=1122
Patrik Spacek has submitted a stalwart pitch to The Walt Disney Corporation to have his fabulous looking “special edition” of Hal Barwood’s and Noah Falstein’s legendary point-and-click adventure Indiana Jones and the Fate of Atlantis officially sanctioned and supported. On the eve of what is certain be an important event, a review of the common practice and history of “special editions” is in order. What does a product make “special” beyond the difference in pricing and packaging? Is it justifiable to attach such a powerful attribute to a word as mundane as “edition”?
Why did the computer and video game industry “tie in” with motion pictures? How come the once ubiquitous game adaptations disappeared whilst gaming is more popular and lucrative than ever?
This is an analysis of how gaming industry’s original envy turned into unsurpassed pride, of how the relationship between the motion picture and the computer and video game industries has undergone a significant change over the last four decades, of how players cast off the double-duties as brand ambassadors name-dropping a film’s title in conversations to tell their very own, very personal story of their adventures inside the bits and bytes of computer and video gaming. This is the journey of the joystick marketeer that lived to be a virtual storyteller…