While it may seem like an obvious project for Naughty Dog to have taken on, a PS4 version of The Last of Us was hardly a foregone conclusion when the game originally launched 13 months ago. “It would have been a little presumptuous of us to take a completely new IP and say: ‘This is going to do great, let’s do it again,’” says Gyrling. However, Shekar was quick to note that the team behind the game felt good about its potential — both for the PS3 and possibly other platforms down the line. “While we were finishing up the game and looking at the quality of the game, I’m pretty sure most of the programmers had a pretty good feeling that we would be porting this over to the PS4,” he recalls, “but we weren’t really planning for it or preparing for it in any way until after we shipped.”
I’ve been holding out on getting a PS4 (until the new Arkham game, honestly) but if I had one getting this would be a no-brainer.
I don’t think I’m better than everyone else at anything, but I am very quick at organizing a big mass of interview tape into a structure. I learned my technique from a great print editor named Paul Tough, who was at the New York Times Magazine and Harper’s, and worked with our show a lot in the early years. It’s so basic I worry it doesn’t bear going into here, but just in case it’s handy to another writer or editor, here we go…
Last week, torrent sites lit up with a high-quality Expendables 3 screener, which almost never happens before a big movie’s release date. Much hand-wringing ensued: Will the leak kill its chances in the box office? Will everyone who might otherwise pay $17 to watch Sylvester Stallone And His Merry Men blow things up just download the movie instead?
Two hours and six minutes later, I’m pretty sure it’s going to be the opposite. Leaking a month before its release might just be the best thing that ever happened to The Expendables 3.
Speaking of The Expendables 3 leak… here’s David Pierce at The Verge on the leak and why he’ll still pay to see the movie.
I don’t agree with most of what he’s saying, mostly because I don’t give a shit about The Expendables 3 but I agree with the premise at the heart; see movies in theatres. That’s how they’re meant to be seen.
Apple’s obviously not the only company trying to make an incredible product — from Samsung and Google to Pebble and CooKoo, many others are in the wristwear business. If Apple’s going to do right what all others have done wrong, it needs to quickly learn a number of important lessons. It needs the iWatch to do, and be, a few things like no other smartwatch.
Seven things, to be exact.
Because Apple is notorious for giving people what they want, rather than showing them what they want.
I’m still not convinced it’ll be an actual watch.
More bullshit about Apple intentionally slowing down their iPhones.
Finally, we see a big limitation: This data reveals only correlations, not conclusions. We are left with at least two different interpretations of the sudden spike in “iPhone slow” queries, one conspiratorial and one benign. It is tempting to say, “See, this is why big data is useless.” But that is too trite. Correlations are what motivate us to look further. If all that big data does — and it surely does more — is to point out interesting correlations whose fundamental reasons we unpack in other ways, that already has immense value.
I couldn’t bring myself to actually link to this horse shit. So instead click the link to see a video of Paul Rudd Dancing (and yes, there’s a bonus one there).
Remember the episode “A Star is Burns” from season 6, which was a crossover between The Simpsons and The Critic (Mike Reiss and Al Jean’s creation)?
Well, Matt Groening was so outraged at the idea that he got his name removed from the credits of the episode and went on saying: “The two reasons I am opposed to this crossover is that I don’t want any credit or blame for ‘The Critic’, and I feel this violates the Simpsons’ universe, ‘The Critic’ has nothing to do with the Simpsons’ world.”
Unlike Family Guy, The Critic was a good show, but it failed in the eyes of the public because (and that’s my opinion on it) in order to understand the jokes you needed a lot of cinema background, in other words, they weren’t just random rude jokes like those of Family Guy.
This reminds me that The Critic is such an incredible show.
And for a city that has struggled to save much of its heritage, Toronto now has something old, unique, and nearly impossible to miss, preserved in a cityscape dominated by newer and mostly forgettable buildings. “A kid will look at it and ask their parents ‘What is that?’,” says Matlow. “That’s the point in a heritage structure.”
The film, announced in March, is still early in development, and the actress is yet to sign on to the role. Sam Raimi, the director of the original Evil Dead and Spider-Man trilogies, is set to produce. Naughty Dog’s creative director and writer Neil Druckmann will pen the script. The script will have some changes from the game’s story. Initially Druckmann wanted the film to have a different ending, but Raimi convinced the writer otherwise.
According to Druckmann, Naughty Dog has final approval on both the casting and directing of the film.
I’m really of two minds about all this. Certainly The Last of Us is perhaps one of, if not the most, cinematic games ever created. I often found myself wishing the cut-scenes would last longer and the “gameplay” shorter because I was so invested in the story and wanted to know what happened next.
But that’s part of the problem. The work is already so cinematic that a film almost seems unnecessary. While I’d be all for a film with a new narrative set in the same world, a simple translation from screen to screen seems rather pointless.
But I await to see who is hired to direct. Get someone like Gareth Edwards and I’ll be on board 100%.
The Room, the puzzler that’s one of the very best titles on iOS. Developer Fireproof Games announced that the titular chamber is coming to PC via Steam on July 28th. No price has been announced at this time.
Easily the best iOS game I’ve ever played, The Room is a return to classic puzzle games like Myst (except, unlike Myst, it’s fun, and you actually can beat it without using a walkthrough).
The story of the iPod is, in many ways, the story of Apple’s comeback. The iPod helped turn Apple Computer into Apple, Inc., from a computer company into one of the most recognizable brands in the world. Instead of just selling Macs, Apple branched out into the product lines that we know today, including iPhones and iPads—portable devices that were mere dreams when the iPod was launched. (Of course, Apple never sold only Macs; over the years, the company had also sold digital cameras, printers, scanners, speakers, and a PDA. But none of those products survived for very long.)
But now the iPod product line is on its last legs. And while Apple will most likely continue selling them for a few years more, there’s no reason to think the company will do anything to significantly update the current iPod product line. Apple’s iconic music player has reached its twilight years.
The iPod was what turned me onto Apple. I still think it’s an utterly fantastic product.
Valbray, a Swiss watch maker, has been producing a very interesting timepiece for several years now, and for 2014 has released a limited edition “EL1 Chronograph” model in collaboration with the famed German high-end camera maker Leica. The core concept of Valbray is to have in iris-style shutter on the dial that the wearer and open and close at will, by twisting the bezel. What does this do? It offers people who own Valbray watches the opportunity to fundamentally change the look of their watch dial. Valbray watches can go from having a totally open dial, exposing the chronograph mechanisms on the lower face, or the shutter can completely close, offering a more minimalistic look–and everything in between.
The movie Sex Tape hinges on its lead couple finding it impossible to remove their raunchy homemade porno from the apparently unfathomable depths of iCloud. Their predicament is appealingly modern, if not all that realistic (as GQ proved). It got me thinking, though: How hard is it to remove a sexually explicit video you’ve made from the horny corners of the internet?
Step one; don’t make a sex tape.
Step two; if ignoring step one, DEFINITELY don’t film it on anything connected to the internet…
I mean, yes, it’s all pretty scary. But it’s also silly to fear monger about this kind of stuff, especially when every company does it.
Is it creepy? Totally, but it’s also a reality of the technological age we live in. Remember, if you’re not paying to use the product (or service) it’s because you are the product.
Don’t get me wrong, we’d probably all be a lot better if we weren’t on Facebook and we’d certainly be a lot better if Facebook (or any company for that matter) were allowed to get away with this stuff. But don’t think that they’re the only ones, nor that they’re big brother (not yet anyways…).
Besides, if you’re going to show me ads they might as well be relevant.
"I know when most people hear The Merchant Of Venice, they think 1960s Las Vegas, a high-powered Manhattan stock brokerage, or an 18th-century Georgia slave plantation, but I think it’s high time to shake things up a bit," Hiles said.
"The great thing about Shakespeare is that the themes in his plays are so universal that they can be adapted to just about any time and place." According to Hiles, everything in the production will be adapted to the unconventional setting. Swords will replace guns, ducats will be used instead of the American dollar or Japanese yen, and costumes, such as Shylock’s customary pinstripe suit, general’s uniform, or nudity, will be replaced by garb of the kind worn by Jewish moneylenders of the Italian Renaissance.
"Audiences may be taken aback initially by the lack of Creole accents," Hiles said. "But I think if they pay close enough attention, they’ll recognize that all the metaphors, similes, and puns remain firmly intact, maybe even more so, in the Elizabethan dialect."
DC has launched the one day Batman graphic novel sale, and sure enough Long Halloween is included as are fan favourites Year One, Dark Knight Returns, The Killing Joke, and Hush, meaning you can pick up digital versions of some of the greatest Batman stories ever told for $3.
Good news for those with Bruce Wayne tastes but discount budgets: The celebration of Batman’s 75th anniversary continues this week with the largest digital sale ever from DC Comics.
My favourite book of all time, The Long Halloween has each issue available for only $0.99 each (not sure if the collected version is on sale or not, but it comes in around $16.99). Worth every penny.
Update: The one day graphic novel sale has launched, and sure enough Long Halloween is included as are fan favourites Year One, Dark Knight Returns, The Killing Joke, and Hush, meaning you can pick up digital versions of some of the greatest Batman stories ever told for $3.
YouTube sensation Michelle Phan, whose beauty and style videos have earned her 6.7 million subscribers, is being sued for copyright infringement over the music in some of those clips. Ultra Records — which has been home to popular EDM acts like Kaskade, Deadmau5, and Calvin Harris — says Phan has regularly used (and profited from) music performed by its DJs without permission. Ultra hit Phan with a lawsuit last week, claiming that the YouTube star has repeatedly been told she doesn’t possess the necessary rights to use tracks like Kaskade’s “4 AM” in her videos, but apparently those warnings have fallen on deaf ears.
I’m of two minds on this one. On the one hand I think going after people who use un-licensed music in their YouTube videos is a bit silly (and yes, I am one of those people). If someone is making what essentially amounts to a home movie and happens to use a popular song, then hosts it via YouTube (since it’s the easiest method on the internet to host video) they really shouldn’t be flagged by YouTube for copyright infringement.
On the other hand, if Phan is making money off her videos (which she probably is) she most certainly should be paying to license the music. That said, music licensing is such a colossal clusterfuck that an indie artist like Phan, regardless of how much she pulls in from YouTube probably wouldn’t be able to pull it off on her own. That being said, she could use some of her profits to license music from places like Premium Beat or iStock which have half-decent stock music (though obviously not as recognizable to “the kids”).
But, here’s the most important wrinkle:
For his part, Kaskade is firmly in Phan’s corner and says he has no control over the legal battle.
If the artist doesn’t care, why is she being sued? This is a prime example of our broken copyright system which is supposed to protect the artist, but in fact simply protects the bean-counters.
Either way, Ultra Records would be better off going after people who are postingfull albums and the like.
Maniac Mansion revolutionized the point and click adventure genre and spawned a number of hits for LucasArts (then LucasFilm), like Secret of Monkey Island and direct sequel Day of the Tentacle.
Given that it’s from a distant era, when all concept art was hand-drawn (as it is here), you’d be forgiven for thinking it reads like a piece of ancient video game lore. Interesting, perhaps, but a little crusty.
But it isn’t.
I loved “Day of the Tentacle”. A very cool piece of gaming history.
Simpsons World, to be exact: the digital platform, unveiled for TV reporters in Los Angeles yesterday, that FXX network will use to take maximum advantage of acquiring the entire 25-season run of The Simpsons. Accessible on the web and through apps (you also need service from a participating cable provider), it will allow you to watch any Simpsons episode you want, any time.
I’d say it’s about fucking time but you’ll notice you need a cable provider meaning while this is a step in the right direction, it’s not far enough. I always wished “The Simpsons” had something similar to South Park Studios (though, SPS recently transitioned to Hulu, so it’s now a mere shadow of itself).
As someone who loves referencing his favourite tv shows I always thought content creators were missing out on a great opportunity to allow me to share these references. A while back I had the idea for a site that would allow you to “quote” your favourite show; grab a 5-10 second clip of your favourite line and post it to Twitter or Facebook. When your friends clicked through they’d hear the funny line, which would remind them of the funny episode and low and behold there was a link to watch the whole thing for 99 cents (or better yet, free with adverts). Creators could be leveraging our pop-culture references into literal cash.
Think of how much money they’d make!?
Instead I have to rely on crappy YouTube clips, 90% of which get pulled by Fox because they still have their heads up their asses and think it’s 1992.
The day after “Endless Appetizers” was announced, I went to TGI Friday’s in the Brooklyn neighborhood of Sheepshead Bay. I wanted to challenge the hubris of a company co-opting the infinite for a marketing gimmick.
I wanted to demand accountability from copywriters. I wanted to call their bluff and eat appetizers until they kicked me out, to seek the limit of this supposedly limitless publicity stunt.
I soon learned the limit does not exist.
However, although we understand the complaints, it doesn’t necessarily mean we’re going to do anything about them. Believe me that’s not arrogance on our part, but the fact is we’re not wedding DJs taking requests, and for good reason, because no good telly in the history of man was ever created that way. You have to make the programme you want to make, and people then vote with the on or off button. So although not many on Final Gear liked the electric car, we actually loved it, and we’ll make more of those any time we get the right idea.
I don’t drive, nor do I particularly like cars. But I watch, and re-watch Top Gear religiously. Not because I need to know about the latest super car, but rather because the three hosts are so incredibly funny, and the show is so incredibly well made.
Yes, it’s a bit silly. But so was Monty Python.
I will start with this: I don’t know Zach Braff, and I have no idea if he’s a nice guy or a heel. I saw Garden State and wasn’t nuts about it, and I’m not a huge Scrubs fan. I’m also jealous of his New York apartment which I once saw in maybe the New York Times? It was beautiful. So basically overall I’m the kind of guy who is complaining a lot about Zach Braff right now.
But seriously, people like me: quit complaining about Zach Braff. Especially his Kickstarter. You’re being dicks.
Full disclosure: I like Zach Braff. I liked Garden State. I helped fund Wish I Was Here and I liked that too.
Regardless of that, everything Jesse says is spot on. I don’t know why everyone is kicking the shit out of Braff. Sure, he put his foot in his mouth a few times along the way, but at least the guy is being 100% honest, and I bet if you worked hard on something that was purely to make people happy, only to have a bunch of anonymous dick bags make fun of you, and what you worked so hard to create, you’d be a little sore too.
Finally, if you’re not into the movie that’s cool. But don’t judge something you haven’t seen. If you see the movie and hate it, that’s cool. But if you’re just writing it off having not seen it then, well, you’re being a dick. Also, I guarantee that his movie is better than that dude’s potato salad.
Not to spoil the article but this really gets to the heart of it, and why I think this whole thing is so important:
More importantly: directly audience-funded creative work is by far a net positive for society. It fosters deeper and more important work - there’s a big difference between your relationship to something you voluntary give money to and something you’re willing to show up to a theater with friends for. It reduces the risk inherent in any creative undertaking for the creative people. It makes it so that folks can spend more of their time making and less begging big corporations for money. It gives creative people control, with the backing of people who like their work, rather than giving that control to someone who wants to sell stuff. All of these are good, good things.
Let’s break the idea that this is a matter of charity. No one pities Zach Braff. He’s rich and handsome and doing well for himself. But tens of thousands of people love his work, and they want more of it. They’re willing to pay for it. And you don’t have to go see it. So what the heck’s wrong with that?
Netflix is enormously popular in Canada with millions using the online video service. While the Canadian version of Netflix has improved the scope of available titles since it launched, there are still differences with the U.S. service, leading some subscribers to use virtual private networks to mask their address and access U.S. Netflix. Are those subscribers “stealing” something? The Globe and Mail’s Simon Houpt apparently thinks so.
Speaking of the “grey zone”…
Michael Geist makes an argument that circumventing geo-locks not only doesn’t break any laws, it really has no real negative side effects for those involved.
Which just goes to show; the greedy corporations who make these stupid license deals should stop putting up barriers for people like me who want to give them my money to watch their content. Instead I’m now giving my money to a third party service instead so I can get around their stupid restrictions.
One is a respected Canadian broadcaster who uses a popular VPN service to jack into the U.S. version of Netflix so his kids can watch shows that aren’t legally available here. Another is a theatre critic who doesn’t have cable and is aghast at the idea of handing over more than $100 a month to Rogers Cable just so he can watch Game of Thrones on HBO Canada: Like millions around the world who have made that show the most popular one to pirate, he’d rather just download it from a torrent site.
Then there’s the newspaper editor who loved Downton Abbey so much that, last January, after Season 4 began airing on Masterpiece Theatre in the United States, she hopped on over to Pirate Bay to binge on the new episodes rather than waiting another five months for them to show up on Vision TV here in Canada.
All of them make their living from the content-creation economy. And yet they all think it’s fine to steal content that somebody else created.
You’d be surprised how much of a norm this is. At least I’ve never been hypocritical about it…
For what it’s worth, I’m now consuming most of my content via Netflix and Hulu (which is kind of in a legal grey zone since I don’t live in the US), as well as purchasing iTunes Season Passes for shows I love (that also don’t cost $60). It’s far easier than stealing, and I can feel good about knowing that I’m doing the right thing.
Well, except for Top Gear, but that’s only because all the music gets swapped out.
So what, exactly, do consumers have to fear? To find out, Popular Science chose 10 of the most common claims about GMOs and interviewed nearly a dozen scientists. Their collective answer: not much at all.
People’s fear of GMO foods is a lot like their fear of “chemicals” in their food (hey guys, you know salt? Yeah, that’s a chemical), which mostly stems from a misunderstanding of science.
Are all GMOs good? No, of course not; but they’re not all bad either. Hell, you’ve all been eating seedless watermelon for years and I don’t hear you complaining.
Music streaming service Spotify is at long last gearing up to launch in Canada, and they’re inviting some of those that have expressed interest to try it out first. The invitations will be sent out to a selection of those Canadians that have signed up at Spotify’s Canada page, and users of the latest version of the iOS app can join the invitation queue from right within the app.
Because, you know, we haven’t waited long enough…
I for one have been begging for this for, literally four years!
It’s one of the great tragedies of cinema history that Ingmar Bergman never directed the big-budget superhero movie he was clearly born to make. Luckily, the Internet has picked up the slack and righted the wrongs of history by showing us what a movie version of DC’s The Flash would have looked like if the famous Swedish director had been behind the camera.