Showing posts with label press. Show all posts
Showing posts with label press. Show all posts

Friday, August 24, 2012

Amazon To Announce Its New Tablets On September 6?

We reported a month ago on the "five or six" new tablets Amazon is rumored to release this year. The company has invited press to a media event in Santa Monica, CA, scheduled less than a week before Apple is expected to announce its next iPhone. A clear effort to keep us guessing, the press invitations simply state, "Please join us for an Amazon Press Conference."

Amazon announced the Kindle Fire at a similarly furtive press event last fall, so while it's not 100% certain this will be a tablet announcement, it probably is. And not a moment too soon: with Google's vastly superior Nexus 7 now on the market and the iPad's market share still basically unchallenged, Amazon has some catching up to do.

Everything's speculation for now; so what do you think? Will Amazon announce a 10" iPad killer? - just an updated seven-incher? - an out-of-left-field smartphone? Cast your bet in the comments.

Jon Fox is a Seattle hipster who loves polar bears and climbing trees. You can follow him on Twitter and IGN.


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Tuesday, August 21, 2012

The Office Ending with Season 9

Updated with much more info from the press call:

During a conference call today, The Office's executive producer, Greg Daniels, announced that the upcoming Season 9 will be the final year for the NBC series.

Daniels said that "all questions will be answered" as The Office comes to an end, including meeting the documentary crew and finding out who's been filming the Dunder Mifflin crew all this time.

The final season of the show will bring back a lot of familiar faces, according to Daniels. We'll see Roy (David Denman) get married and David Wallace (Andy Buckley) will once again be running Dunder Mifflin. Despite having her own new show on FOX (The Mindy Project), we will see Mindy Kaling as Kelly Kapoor a couple more times.

Of course, it's hard not to wonder if one of those familiar faces might be Michael Scott. Daniels didn't have a definitive answer on whether Steve Carell might guest star, saying, "We would certainly wish for it. We're not going to put so much pressure on Steve by writing something that could only work if he returned. But it would be fantastic if he returned."

Daniels also hopes to bring back some of the show's veteran directors, including Ken Kwapis, who may get the honor of directing the final episode, a neat bookend since he also directed the pilot. Daniels also mentioned that there are some juicy roles the producers are expecting to fill with prominent guest stars and that the fact that this is the last season may lure some talents who have been hoping to work with the show for a while.

Further details on the big surprises coming this season were in short supply, though. Daniels has vowed to keep a lid on the big surprises in store this season, opting to let the audience experience it as it happens rather than reading it online. But for what it's worth, here are some of the tidbits he did share:

* We will finally find out who the Scranton Strangler is!

* Stars Rainn Wilson, Jenna Fisher and John Krasinski have all been promoted to producers this year, and have been involved in the "vision and pitch" of the story.

* Perhaps related to that, Daniels promised it will be a "big year" for Jim and Pam. "The story is not over for them," he said.

* We'll get some "crazy Dwight" stories that the writers have been wanting to do for years.

* Breaking Bad's Bryan Cranston was on the set directing an episode. Daniels said he could see him working just outside his window.

A potential spinoff, The Farm, focused on Dwight Schrute and his family, is in development. An upcoming episode of The Office will serve as a backdoor pilot for The Farm, and introduce several new characters, including Dwight's sister, played by Majandra Delfino. The new show will be produced by former Office showrunner Paul Lieberstein. Daniels is not involved in The Farm.


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All The World’s A Stage In Puppeteer

If you watched Sony’s Gamescom press conference, you’ll have briefly seen Puppeteer in action. It looks mental. An unashamedly theatrical 2D puzzle-platformer with flamboyant artistic direction and voice acting straight out of a pantomime, it’s the brainchild of director Gavin Moore and SCE’s Japan Studio. It’s a beautifully imaginative game that plays with the form and conventions of theatre and puppetry to distinguish itself in gameplay terms as well as stylistically, born of Moore’s desire to create something that could capture the mind of his own son.

It’s a dark fairy tale story, beginning with the abduction of a boy’s soul by a malevolent bear-king who lives on the moon. Young Kutaro, the protagonist, finds himself transported into the body of a wooden puppet. The presentation of this puppet play is luxuriantly over-the-top, with red velvet curtains that flutter and billow with the action on the stage and an unseen audience that gasps and laughs at key junctures. “Kuuuutaro! KUUUUUTARO! Will you be my friend?” bellows the imposing, red-eyed Moon Bear King, in a stage voice that booms from the speakers, before biting Kutaro’s head off and discarding his body. From there, you have to find different heads for Kutaro to wear, each of which can be put to use in different situations.

At this point, near the beginning of the first act, Puppeteer looks like quite a simple 2D puzzle platformer – but the longer you watch it for, the more nuance it reveals. Towards the end of the first act, after Kutaro has escaped through the basement and kitchens of the Moon Bear King’s tower and climbed back up to the top, he finds himself in possession of a magical pair of scissors that lets you cleave through the fabric of the sets, cutting shapes out of cloth puppets or props. We’re shown only the most basic application for these magic shears, as Kutaro cuts through patterns of cloth to create a door for himself through to the King’s throne room.

The 2D perspective allows Japan Studio to be especially lavish with the sets

The 2D perspective allows Japan Studio to be especially lavish with the sets, realising the animation, characters and backdrops with exceptional detail. “I hate 3D cameras,” says Moore. “It takes a really, really good coder to get a very good camera working in a game. Here, it’s fixed – and it meant that suddenly we had all this CPU power we could use to create other things, like full theatrical lighting and real-time shadows.” In the absence of a camera, the right stick controls Yin Yang, a flying witch’s cat with headlamps for eyes who accompanies Kutaro for this early part of the game, mewing advice in Cheshire-cat-style honeyed tones.

But the two-dimensional viewpoint isn’t restrictive – Kutaro isn’t always walking from right to left or left to right across the stage. Some sets rotate, like the tall spiral tower that Kutaro must climb to find the magic scissors. Others will be top-down. The sets are constantly changing around the player, with new furniture and props clunking into place and the stage lights following and spotlighting the action. There’s an impressive physicality to it all; it looks and sounds like a play, a window into a stage, rather than a digital creation. The audience gasps, bombastic orchestral score and sound effects, and ostentatious voice-acting all draw you in to the theatrical conceit, as does the detail in the sets, from those gently undulating stage curtains to the smoke effects – even the clop of Kutaro’s puppet feet on the stage floor.

If Kutaro gets hit by anything malicious, he loses whichever head he has on at that moment, giving you three seconds to scramble around and pick it up again. Each head has contextual actions – the first one that you find, a useless skull, comes with a little puppet skeleton dance. A spider head, found later, lets him interact with giant spider webs around the world. At another point, he was wearing a hamburger for a head, whilst navigating a basement kitchen full of dancing crockery and fiery hazards, and staffed by other headless unfortunates whom the Moon Bear King has eaten.

Unlike many artistically inventive 2D platformers of our time, Puppeteer isn’t a digital-only release

Unlike many artistically inventive 2D platformers of our time, Puppeteer isn’t a digital-only release. “It’s a full-release blu-ray disc, so expect the amount of content that you’d expect from that. It’s more than you would imagine, I will say that,” Moore confirms. “Puppeteer is huge. It’s absolutely huge. It’s full of wild and wonderful situations, with variation in changing sets and gameplay and enemies. People will be shocked by the amount of stuff that we throw at you… If you’re going to ask people to pay for a game [on disc], you want to give them a new experience.”

Puppeteer is certainly that – I’ve never seen anything like it, and comparisons to things like Paper Mario and LittleBigPlanet feel shallow and superficial after you’ve seen more than a few screen shots. Most interestingly, when Gavin Moore was asked whether it’s a happy game or a sad game, he seemed to find himself unable to answer. There’s European fairy-tale darkness in this story, a touch of Grimm, where bad things sometimes happen to good children. The presentation might be flamboyant, but it’s not primary-coloured or childish; if I were seven years old, I’d probably find it compellingly scary.

Puppeteer has been in the making for almost three years already, and will be out next year. Hopefully we’ll see more of it at Tokyo Game Show next month.

Keza MacDonald is in charge of IGN's games team in the UK, and finds herself continually impressed with Sony's talent for attracting and supporting some of the industry's most unusual and creative games. You can follow her on Twitter and IGN.


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Wednesday, August 15, 2012

How Sony Won Gamescom Before It Even Started

Microsoft should be afraid of Sony. Before the PlayStation publisher’s pre-Gamescom press conference this week, Sony’s foreseeable software future seemed weak. The PlayStation Vita seemed only to have a handful of promising titles for the remainder of 2012 – LittleBigPlanet PS Vita, PlayStation All-Stars Battle Royale, a Call of Duty game we knew next to nothing about, a Persona 4 remake, and a poorly timed Assassin’s Creed tie-in were the PlayStation brand’s best and brightest. But after displaying a strong lineup of exclusive games on both PlayStation platforms, a brilliant new business strategy, and confidence in risky game ideas, Sony’s future couldn’t look better than it does now.

Gamescom will be Sony’s show. This is bad news for Microsoft, who didn’t even bother to show up.

Sony’s Cross Buy announcement undoubtedly earned it a great deal of gamer goodwill. Buying Battle Royale, the new Ratchet & Clank, and Sly Cooper: Thieves in Time on PS3 scores you a free Vita copy. This is an incredible move for Sony. These are three of its most popular and promising titles, and you can play them anywhere, any time, for one price. Cross Buy puts PlayStation fans ahead of the curve, and rewards them for purchasing PS3 games they were likely to buy anyway. It looks amazing on the back of the box, it’s something people will tell their friends about, and it makes a Vita worth owning for every single PlayStation fan. That’s just smart marketing.

Cross Buy puts PlayStation fans ahead of the curve

Until Dawn, Rain, and Puppeteer all represent something astounding about Sony’s initiative toward supporting innovative ideas. Following Papo & Yo, Journey, and many other clever concepts, this trio of games look unlike almost anything you’ve played. Each of them certainly has a niche appeal, but Sony’s willing to risk a limited audience if it means putting exclusive, original games on its platforms. Add in the casual mentions of Beyond: Two Souls and The Last of Us during the conference, and you’re looking at a large stack of Sony-only goods. Oh, and let’s not forget Media Molecule’s cute and creative Tear Away, either.

For the first time since I bought it, I want to play my Vita. A quirky indie game like Sound Shapes reassures me that more great stuff is on the way, and Sony really came out of the corner throwing haymakers. I want Black Ops Declassified because it looks like a true Call of Duty game. Killzone Mercenary is the Sony sequel I want most on the platform I’m aching to play.

Before I came to Gamescom, I played my Xbox more than any other platform. That changes the moment I get back to my living room. All of a sudden, the future of gaming in my life is dominated by a platform I traditionally ignored for my Xbox 360. The level of imagination and accessibility in these original, exclusive games is so much more interesting to me than another Halo game. Make no mistake: I’m thrilled about Halo 4, but it’s the one and only Xbox exclusive I plan to play this fall; the only other two exclusives I can think of in the next few months are Gears of War: Judgment and Fable: The Journey – of those, I only have faith and interest in the former.

Microsoft missed a great opportunity at Gamescom to tell the world about why it should care about Xbox 360, Xbox Live, the fall update, and how it all connects to Windows 8. More importantly, maybe, just maybe, it could have given us a game worth thinking about, investing in emotionally, or getting excited to play with on Surface, Windows Phone, Windows Live, or any other gaming platform it may have on the way. I love my Xbox 360 -- I just want as much a reason to play it as I now have for my PlayStation devices.

Gamescom belongs to Sony, as does my heart. This is a brilliant sign of things to come, and it was all done before the show had even begun.

Mitch Dyer is an Associate Editor for IGN's Xbox 360 team. He’s also quite Canadian. Read his ramblings on Twitter and follow him on IGN.


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Friday, August 3, 2012

New Teenage Mutant Ninja Turtles Balances Comedy and Action

The TCA (Television Critics Association) press tour can be a rather stuffy affair, which was why it was extra amusing to have the Teenage Mutant Ninja Turtles in attendance for the final day of the two-week event today. No, not just the producers and voice cast from Nickelodeon’s new animated series, but the four Turtles themselves were present as costumed characters – making a brief appearance onstage, before the press began asking questions.

Executive Producer Ciro Nieli noted the challenges of being the third big animated take on TMNT, considering the Turtles now have multiple generations of fans – yet this series has to be appealing for kids. “What we tried to do is get this long view on what it’s been and what you think the public really wants and try to boil it down and do the best thing for the franchise.” He said it was very important to, “Keep that comedy element, which is a really big aspect from the original [1987 animated series].” On the other hand, the more recent animated series (from 2003), “really focused on action,” and Nieli said he felt they “had a pretty decent blend of both” in the new TMNT.

Nieli, who said he was personally also a big fan of the first live-action Turtles film, said finding the balance between all the previous Turtles iterations was “the trickiest thing,” while noting the original animated show especially has a ton of nostalgia surrounding it and was “like lightening in a bottle.”

April O’Neil is a teenager in this version, and Nieli said that came from an overall desire to focus on the word Teenage in the title. Nieli felt, “In all the other iterations, that was either glanced over or completely betrayed,” noting in the 2003 series, the Turtles were “very muscular and seemed like they were in their mid-20.”

Nieli joked about feeling the previous TMNT stories always had April “on her way to work and she seemed kind of frustrated [with the Turtles].” Making her a teenager was a way to “make her more active” and a contemporary to the Turtles.

He also felt April was, “The above-sewer counterpart to Splinter.” The new series begins with the Turtles having never really been exposed to anything outside the sewers and Nieli remarked, “When they finally come above ground, they need this hip, cool, energetic person,” as they discover, “This world above ground in NYC is so amazing!” Added Mae Whitman (Arrested Development, Parenthood, Avatar: The Last Airbender), “She loves pizza now!”

I asked about Casey Jones on the series, and Nieli replied, “Casey Jones will show up in the second season,” noting he didn’t want to give too much away, but that, “We’ll take our time introducing him.” Casey will also be a high school student, but “Maybe a couple years older – he got held back.”

Baxter Stockman will be introduced fairly early on, while Fugitoid may show up later. Nieli said he wanted the first season to focus on the Turtles themselves more than a constant introduction of familiar characters from previous versions. In coming season though, “We’ll get into other mutations,” with the plan being to later get to “science fiction and outer space” and other elements previous Turtles stories have explored.

As to his approach to the villains on the series, Nieli said his philosophy on a show like Teenage Mutant Ninja Turtles was, “”If the characters aren’t having fun, it’s not worth a damn.”

He wants TMNT to be, “A real worls with dangerous stakes and weird characters having fun.” Nieli said balance was key and that while they wanted the villains to have weight, “If Shredder does something that truly is villainous and vile, that we react or cut it appropriately [with something more lighthearted] so it has that balance for kids.” Still, he felt the new Turtles, “can also age up for an older audience. It’s about how you do it. It’s a hard question to answer. It’s subtle. And every case is unique.”

When it comes to the actions of characters like Krang and Shredder, things can “Ramp up for this horrifying moment and then suddenly it becomes very funny, very quickly. It’s compression and release, compression and release. “

A big factor in the success of the original animated series was the cast, Nieli felt, and he said he worked hard to recapture that with the new cast, wanting the group to feel like brothers – and a sister, with April.

The voice cast said they felt they achieved that camaraderie, with Sean Astin (Raphael) saying, “We really didn’t fight for it - it was just there.” Some of the cast, like Rob Paulsen (Donatello) and Greg Cipes (Michelangelo), are prolific voice actors, and Jason Biggs (Leonardo) said, “All of these voices compliment each other. I don’t do a voice. I’m just bringing my [natural] voice to the table.” Biggs added, “When we first saw the footage, it really blew us away. It really worked. It’s very exciting.”

Everyone laughed that the eccentric Cipes essentially was Michelangelo, while there was high praise for veteran Paulsen – the original voice of Raphael in the 1980s series, which Biggs was a big fan of. Paulsen said he was very excited to, “Get another crack at one of the top three or four franchises in history.”

When it came to the fighting on the show, Nieli said, “The violence never goes to a place that’s excessive. The Turtles are acting in the greater good, but they’re justified. This is a kids show. It’s not that violent.” Astin, a parent himself, said he felt Teenage Mutant Ninja Turtles was, “Fun and age-appropriate and I’m totally comfortable with my kids experiencing it.”

On the other hand, Nieli did want to note this was, “the first Nina Turtles incarnation where they actually use their weapons, instead of throwing them at the wall!” He laughed about scenes on the original series, where Leonardo would leap forward holding his swords, but just kick his feet – only using his sword when he threw it at a light bulb. “That would drive me crazy, so that’s not happening.” That being said, “We’re not chopping sentient, actual thinking beings in half.”

Teenage Mutant Ninja Turtles premieres September 20th on Nickelodeon.


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