Buy Console Wars: Sega, Nintendo, and the Battle that Defined a Generation by Blake J. Harris: Book/eBook
Seth Rogen, best known for those movies you either love or revile (there seems to be no middle ground) and longtime-collaborator, Evan Goldberg, are working on a film about the great Console Wars of the 1990s. Now you might be wracking your brain, trying to place the great Console Wars of the 90s, and how they resulted from the end of the Cold War and the Gulf War… but you’re overthinking it. We’re talking about the rivalry between Nintendo and Sega, two of the great videogame developers and publishers of that decade. Rogen and Goldberg acquired the rights to “Blake Harris’s Console Wars: Sega, Nintendo and the Battle that Defined a Generation, an upcoming behind-the-scenes oral history of the classic gaming industry battle,” explained Kwame Opam of The Verge, based on the original report from The Collider. Rogen and Goldberg provided a foreword for the book.
Hoping to follow in the steps of The Accidental Billionaires, which spawned Aaron Sorkin’s The Social Network, a semi-ficitonal biopics about the creation of Facebook, Harris’s Console Wars: Sega, Nintendo and the Battle that Defined a Generation is “a mesmerizing, behind-the-scenes business thriller that chronicles how Sega, a small, scrappy gaming company led by an unlikely visionary and a team of rebels, took on the juggernaut Nintendo and revolutionized the video game industry.” Scott Rudin, producer of The Social Network will serve as executive producer.
The big question is who Rogen will cast as the legendary, inestimable Hiroshi Yamauchi, the Japanese businessman who, as the third president of Nintendo, turned the company from a small playing card manufacturer in the ’50s into one of Japan’s most successful multi-billion dollar companies, and defining the childhood’s of millions of people worldwide in the process. Any videogame fan above the age of 25 lived through that golden age of the industry and likely knows how fascinating the industry was during the mid-90s, as it continued to recover from the devastating crash in the 70s and began planting the roots of what would eventually become the goliath we know today.
Unfortunately for Rogen, we all have the benefit of hindsight and know that the eventual winner (and objectively more awesome/superior) game console is Nintendo’s SNES. So, uhh… spoilers for the film, I guess?
Console Wars: Sega, Nintendo, and the Battle that Defined a Generation is available on May 13, 2014. There is no release date for the film.
Another day, another Star Wars rumour. This time, reports are floating around that Pixar, those awesome folk behind some of the best films of the past decade-and-a-half, are working on a Star Wars. Not Episode VII, presumably, but something entirely separate. Count me intrigued and, well fanboyishly optimistic.
Rob Bricken of io9, however, recognizes that it might be more of a leap-of-faith than a full blown rumour. “Anyone who remembers that Disney owns Star Wars, Disney owns Pixar, and Pixar makes good movies, could probably put all the facts together and come out with the same hypothesis,” he said. “So let’s all pretend it is true, and maybe we’ll force Disney to conform reality to our wishes.”
Adam Whitehead shares his own concerns about Disney’s intentions with the Star Wars Expanded Universe that currently exists in the Star Wars books, videogames, and comic books. “Something that irritates in all of this, “No-one cares about the Star Wars games, books and comics!” stuff is how BS it is,” Whitehead said on Twitter. “The Star Wars Expanded Universe-set materials have made about $6 billion. That’s more than the theatrical gross of the 6 movies. And about a third of the combined films theatrical gross+home video/DVD/Blu-Ray sales. Still very significant.” Timothy Zahn’s Thrawn Trilogy has sold nearly 20 million copies by itself, which is more than George R.R. Martin’s A Song of Ice and Fire (which is up to five books now), which illuminates just how important the EU is to a lot of fans. However, I wonder, how many of those 20 million were sold to the children and young adults that will become obsessed with the Pixar film and fill their parents’ ears for all the associated merchandise?
Lightning in a Bottle, an unfilmable story.
Last year, after a decade of speculation, failed starts and mountains of expectation, Peter Jackson released The Hobbit: An Unexpected Journey, the first in a trilogy of films adapting J.R.R. Tolkien’s classic fantasy novel, The Hobbit, for the big screen. Following in the footsteps of its bigger brother, Jackson’s adaptation of Lord of the Rings, a modern film classic in its own right, The Hobbit was almost destined to disappoint. With his first trilogy, Jackson captured lightning in a bottle. He took the movie industry by storm, and revitalized mainstream excitement for fantasy to a level not seen since the ’80s. He did so, somehow, by executing an enormous passion project that seemed almost impossible under the circumstances: no major stars, a production and special effects company that no one had heard of, a story deemed unfilmable by many fans, and a film industry that had not seen anything of its scale since Lucas’ Star Wars (which, in itself, faced many challenges and doubters before it found success.)
When Jackson first approached New Line Cinema, he pitched them on an adaptation of The Hobbit, with a two-film adaptation of Lord of the Rings to follow. As these things go, film rights to The Hobbit were split between two companies (which would again later impede production of The Hobbit trilogy we know today), while Lord of the Rings was entirely under the umbrella of New Line Cinema’s owner, Saul Zaentz. Jackson, a relative unknown in the world of big budget Hollywood films, was given the reigns to one of the most revered entertainment properties in the world. Continue reading
If there’s one takeaway from the first film in Peter Jackson’s film adaptation of The Hobbit, it’s that the writer/director’s tinkering with Tolkien’s lore, ostensibly for the sake of making a more
bloated exciting theatre-going experience, was less than successful. The additions of Azog, Radagast’s plight against the Necromancer, the absurdity in the hall of the Goblin King, and anything to do with the White Council were unnecessary to Bilbo’s story (which, at the end of the day, is what The Hobbit should be about), and raised concerns about the decision to extend the series of films from two volumes into a trilogy.
On the eve of the release of the second film, The Desolation of Smaug, Peter Jackson recently discussed the decision to add and expand on the characters of three elves, including fan favourite Legolas, played again by Orlando Bloom, and newcomer Tauriel, played by Evangeline Lily. “People always ask about Evangeline’s character Tauriel and why we felt the need to create her,” Jackson said, via /Film. “But in The Hobbit novel, [the dwarves] are captured by the elves and they escape in the barrels. And it’s a memorable part of the book but the Elf King is not even named. He doesn’t have a name. And it was only later on that Tolkien decided it should be Thranduil and he also decided he should have a son when Lord of the Rings was written 18-19 years later. He created the character of the son of the king. Continue reading
It’s no secret the Hayao Miyazaki is one of the most masterful and celebrated film makers of the past century. The Japanese writer/director’s studio, Studio Ghibli, author to contemporary classic like My Neighbour Totoro, Spirited Away, and Princess Mononoke, has helped introduce countless young (and old) people to the beautiful Japanese legends and myths that so frequently form the heart and soul of their movies. They also provide a nice counterpoint to the Hollywood-heavy Disney and Pixar films of today. But not all of Miyazaki and Studio Ghibli’s films are focused on the retelling of Eastern stories. This recently revealed concept art shows what could have been if Studio Ghibli had moved ahead with production on an adaptation of the classic Swedish story of Pippi Longstocking.
Funny enough, io9 reports, “Hayao Miyazaki and [fellow animator] Isao Takahata began preproduction on an adaptation of Astrid Lindgren’s Pippi Longstocking books, but in the end, were unable to secure Lindgren’s permission.” Looking at Miyazaki’s history as a film maker, it’s difficult to believe that Miyazaki would run into such road blocks, but it’s important to note that in ’71 he was still in the infancy of his career as a film maker, working at Toei Animation. Lucky for us, Miyazaki’s concept art for the film still exists.
By exploring themes of adventure, nurturing love, and family, Miyazaki’s films encourage children and adults alike to remember that there’s magic in the world if they just look for it. With her superhuman strength, adventurous and unconventional personality, it’s no surprise that the master filmmaker was drawn to Pippi Longstocking.