Spoiler alert!! War of the Green Lanterns begins!

 The latest issue of Green Lantern has served as a prolgue to the Spring event: War of the Green Lanterns.

The issue contained the movie preview (left) and the last panel of the story hints that we will be losing one of our four Earth-born Green Lanterns.

Will one die?

Will one join another Corps?

Honestly though, I don't see any of them dying.

We could lose Hal to the Sinestro Corps or Guy to the Red Lanterns, but they aren't going to kill off three really popular characters or John Stewart (even though he hasn't really done anything since Kyle made him a new GL ring, except for being in the cartoon).

As long as Kyle still has a book, I'll be happy.

Star Wars 3D cinema releases

The cinematic release of the Star Wars saga in 3D will begin with Episode I: The Phantom Menace in February 2012. Will this be wonderful, probably not. Do these films need much more tinkering with? With the exception of some snipping in the prequel trilogy, probably not.
Should we just shut up and enjoy the fact that we get to watch them at the cinema again? Hell yes! I mean, the original trilogy hasn't been shown at the cinema since 1997. For those who suck at maths, that'll be a 15 year gap. Lucas doesn't let these guys out to play very often and some fans will have never seen the original trilogy at the cinema. That first Star Destroyer shot was made for the cinema and it will probably be the shot that translates to 3D with the greatest effect.
Verdict: Unnecessary, but enjoy.


Source: DailyBlam

20th Century Fox and LucasFilm have officially announced the theatrical re-release of the first STAR WARS film in the six-part saga; which was first teased to fans in September of last year.

Lucasfilm Ltd. and Twentieth Century Fox announced today that the 3D theatrical launch of Star Wars: Episode I The Phantom Menace now has an official release date – February 10, 2012!
Set against the thrilling and exotic backdrop of a “galaxy far, far away,” Star Wars is perfectly suited to the immersive 3D theatrical experience, and Episode I delivers some of the Saga’s most stunning and spectacular sequences – from the Naboo invasion to the Tatooine Podraces to the climactic lightsaber battle between Darth Maul and the Jedi.
Supervised by Industrial Light & Magic, the meticulous conversion is being done with utmost respect for the source material, and with a keen eye for both technological considerations and artistic intentions.

Green lantern: Emerald Knights DVD cover

The cover art has been release and it looks perfect. I couldn't have hoped for any better.
Enjoy.

Source: DailyBlam

David Cage urges designers to make games for adults

The head of Quantic Dream, creator of Farenheit and Heavy Rain, has urged vidoe game creators to adopt his philosiphy for game making. This looks toward pitching games at intelligent adults and trying to do new things with the medium, rather than relying on FPS etc.
I think that he's completely right, whilst his own games both had flaws, they were distinct and interesting. The majority of videogames don't even catch my eye because they look like carbon copies of each other or are dumbed down to meet a younger audience than their age rating would suggest. Occasionally we get really great stand out titles that do something special with a genre, but how often do we get games that just refuse to fit into a genre?

David Cage is not afraid to show his frustration with the video games industry at large. Its part of what makes him so engaging, so passionate - and so proud of what his lean French studio, Quantic Dream, has achieved.

At GDC 2011 in San Francisco today, Cage stood resolute in front of a packed room of coders, writers, artists and designers with a clear message: It's about time video games finally grew up.

Here we reproduce a large chunk of his comments, which were met with not a little respect - and plenty of loud applause...

With most games and the designs we as an industry offer, we clearly target teenagers. Most games are based on violence and/or physical actions.


What do you do in most video games? You shoot. You kill. You destroy something with violence. Or you jump on platforms, you climb, you run, you do physical actions.

These two activities are what you do in most video games out there. The consequence of all this is that video games become, most of the time, meaningless. You have a gun and you shoot at enemies to go through the level, to fight a boss... to go to the next level to fight more enemies and more bosses.

The game tells me I'm the good guy, although I'm a mass murderer - because I have to kill thousands of people in order to be that good guy. Where's the meaning in all this? Kissing the princess in the end as your reward?

There is no real meaning that is possible when the only thing the hero can do is shoot other people or jump on platforms. As a consequence, most games are emotionally limited. The kind of emotions you feel in most games are quite basic; they are about frustration, competition, anger. These are the kind of feelings games give you.

But there are many other emotions out there. You can feel empathy - and some games do that very well. But there is sadness, there is guilt - there are many more subtle emotions available that very few video games try to trigger.

In any type of experience, what matters is not so much what you do - it's how you feel. When you see a painting, you don't enjoy just standing in a museum watching the paint; what you like is how it makes you feel. When you go to the cinema, you don't just enjoy sitting in the dark and watching moving images on a screen; what you like is what you feel.

Why not, in games design, focus on what the player is feeling second-to-second? Storytelling seems to be the best way to trigger these emotions, which need to be as varied, subtle and complex as possible. Triggering only one emotion is boring. People like the emotional rollercoaster. Why should interactivity be any different from all the storytelling mediums that humanity has invented so far?


Video games are also based on the same repetitive mechanisms. What you do in a video game is basically involves ten actions. And when you press buttons in a certain order or timing - and if you are quick enough - you can go through a level and see another one. This isn't new; you always do the same thing in these games. That's another limitation.

The last problem is probably the worst. When you think about it, video games have been based on the same paradigms for 13 years. The technology has made tremendous progress in that time - it's amazing. But when you think about the concepts of games, most of the time, you can take the last game you played and compare it to a game that was released 20 years ago. They are both probably based on the same basic rules.

In Heavy Rain, we tried to answer all of these challenges. The first one was to make a game that would clearly feature adult themes and tone. The tagline for Heavy Rain is: "How far are you prepared to go to save someone you love?" It's a very complex and difficult question.

Then there was the themes that we wanted to talk about - of course love, but also redemption, guilt. These kind of complex feelings.

And then there was the story - which if you take it in a cruel way, was about child abduction. When I pitched this game to publishers, I told them: "Yeah, I've made this game. It's about love, redemption guilt and child abduction." It was often not a success.

But what we wanted was to tell something meaningful. We didn't want you to be the good guy fighting the bad guy. We wanted you to be this normal guy - who could be me or you or anyone - who is confronted by specific events that totally change his life.


We hoped players would be surprised to go through many different emotions; to make an imprint in their mind. We didn't want the audience to turn on the console and say: "Yeah, that's great. Now what else?"

We wanted the audience to remember this game for a long time; to think about the characters, the situations and what they've done. We wanted these things to follow them for a while and be just a small part of their culture - like the best movies they've seen or the best books they've read. That was our objective.

We wanted to offer varied interactions for a very simple reason: I don't know how to tell a good story if my hero can only shoot and run. I don't think there is a good story to be told when that's all you can do. We needed to find a way to change that; to allow our hero to do whatever we wanted him to do. It was about freeing our characters.

Of course, the consequence of wanting to change all this is that you need to experiment with new paradigms. You need to take risks. You need to dare to fail - and dare to fail miserably, but at least fail trying. We needed to invent new rules; to see an end product in a different way.

We wanted to create a meaningful experience; to go beyond the "I'm the good guy, you're the bad guy" and create something that would resonate with the player as a human being.

You don't have to create a game for teenagers. You can create a comedy, you can create a tragedy. You can create whatever you want. You can create something for adults. And that's what's really interesting to me.

Source: CVG

X-men First Class character posters

First character posters are out for First Class. They look like th Smallville season 10 promos, only not as iconic. Verdict? Lame.

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Green Lantern movie posters

Here we get a look at some posters, obviously designed for a younger audience, but I'm sure that won't stop many grown-ups from bying them as well.

Look at the bottom of the first poster.

Is this our first shot of Isamot?
Is that supposed to be Iolande at the top or Saalak (or even Parallax)?

 

 

Source: GeekTyrant