TGS 2010: Sony Conference Overview

Playstation3

Software
3D support:
-Disaster 4: Summer Memories, Everybody's Golf, Final Fantasy 14, Gran Turismo 5, Metal Gear Solid Rising

Ape Escape Fury! Fury!:
- anime cutscenes.

Dynasty Warriors 7
- Developed only for PS3.

Firmware 3.5:
-3D bluray support.
-21 September.

Gran Turismo 5:
-My Home service: accessible from web and a hub for accessing messages, albums, friends list.
-Weather effects: rain and snow shown.
-Night time racing.
-X1 Prototype vehicle in game.

Gundam Musou 3:
-Cel shaded art style.
-December release for Japan.

Ico/ Shadow of the Colossus:
-HD Port for PS3.

Ni no Kuni:
-2011 release in Japan.
-No assets used from DS version of game.

Project Dark:
-Developed by From Software.
-Design philosophy similar to Demon's Souls.
-2011 release.
-PS3 exclusive.

The Last Guardian:
-2011 release.

Yakuza: Of the End:
-Fight Zombies.

Hardware
320gb:
-21 October release in Japan.



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Playstation Portable

Software
3rd Birthday:
-Possible vehicle and turret sequences included

Cardboard Warmachines:
-Anime sequences, cross media with an anime version.

Dissidia 012 Final Fantasy:
-Spring 2011 in Japan.

Kingdom Hearts: Birth By Sleep Final Mix:
-January release in Japan.

Hardware
AKB48:
23 December release in Japan.

Monster Hunter:
-Special bundle for release of Monster Hunter 3rd.

The King of Fighters

Ready? Not quite...

The King of Fighters tournament is one in which participating members are transported to an alternate dimension to engage in a fight. This is made possible due to three ancient artifacts that allow this dimension to exist. The members come under threat when Rugal (Ray Park), a previous member of the tournament, steals the artifacts and begins to manipulate the other dimension to his own liking so as to kill anyone who enters it. It is left to Mai (Maggie Q) and Iori (Will Yun Lee) must enlist the help of Kyo (Sean Farris) to defeat Rugal before too many lives are lost.

The film adaptation of The King of Fighters loosely follows that of the original King of Fighters '94, with some elements from '95, in which Rugal starts the tournament so as to get some excitement into his life. The most notable difference in the adaptation is that the tournament is already established and also that the fighters need to be in an alternate dimension in order to fight in a way which resemble the original game. The science fiction-esque twist on the narrative makes for an intriguing story but the films never really explores the concept. The story is fashioned in a linear manner, with the odd reference to past sequences to help explain certain information. Unfortunately, the plot is fairly thin: it presents opportunities for further development but these avenues are never fully explored.

The acting quality is not exactly great but this is somewhat understandable considering the cast. That said, no actor ever falls prey to evidently poor acting and with more depth to the script a better acting prowess could have been shown. Actors generally take their roles seriously: Park seems to enjoy the eccentric nature of being a villain while the likes of Maggie Q, Lee and Faris portray the motives of their respective characters adequately enough.

The overall filming quality suggests that the film-makers had a low budget to work with. The King of Fighters appears to be filmed more like a television show then an actual movie but that does not stop some fairly enjoyable action sequences, yet these only become common in the latter half. CG becomes present mainly towards the end and looks low-key but nonetheless workable.

Beyond the makings of a possible girl-on-girl scene, there is no nudity or sexual content present. Language is tame and infrequent while violence is frequent throughout the film without ever being gory or bloody.

There is no doubt that The King of Fighters is a missed opportunity. With some obvious reworking to the script and story, and a better budget, the film could easily have been a more commendable entry for videogame-to-cinema adaptations. What really needed to happen was the fleshing out of the characters and the overall narrative to create a more cohesive product. That said the story, actors, and some decent action scenes, are adequate enough to carry The King of Fighters to its conclusion and miss a definitive K.O.

5/10

Screen date: 13 August 2010
Release date: 13 August 2010

GC 2010: Sony Conference Overview

Playstation3

Software
Gran Turismo 5:
- November 3 official launch date for SCEE region.

Infamous 2:
-Cole model revised back to original.

Killzone 3:
-Mech suits.

LittleBigPlanet 2:
- Story trailer revealed.

MAG:
-PS Move support.

Medal of Honor:
-MOH Frontline exclusive to PS3.

Mortal Kombat 9:
-3D support.

Play TV Live:
- Community features such as chat, text chat during programmes, and programme recommendations.

Ratchet and Clank All 4 One
-Fall 2011 release; 4 player drop-in-drop-out co-op.

Resistance 3
-2011 release.

R.U.S.E:
- Supports PS move.

Virtua Tennis 4:
- Supports PS move; 3D support.


Hardware
New SKUs:
- 320 gb PS3 with Move starter pack (349 euro), and 160gb (299).



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PSN

Catch up TV:
-6 new channels, including ITV, Animax and Yahoo.

Mubi:
-Film streaming; PPV and subscription options; 18 countries availability on launch.



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Miscellaneous

PS3 Sales:
- 38 million.

Nothing Personal

Too detached ...

After finding herself alone and detached from society, an unnamed woman (Lotte Verbeek), backpacks through Ireland seemingly wanting to lead a solitary existence. With no more than the clothes she has on her back and some utensils like a small tent, the woman discovers an isolated house belonging to Martin (Stephen Rea) who also appears to be living his life alone.

Nothing Personal tells an intriguing story of loneliness and this becomes quite apparent due to the less than normal use of dialogue, minimal use of accompanying music, controlled camera shots and the muted colour scheme which fills every scene. All of these traits slowly increase as the film continues, and from a visual and audio manner it is great to see the relationship between the woman and Martin develops. The narrative uses a linear flow but it becomes quite a shame that it is broken into noticeable chapters: each chapter begins with a black screen and a word, such as 'marriage'. Beyond hurting the flow of the film these wordings do not exactly portray the tangible events about to occur, but rather abstractly feel as if the director needed to guide the viewer into a particular point of thought in regards to the events about to take place. This guidance erodes at the loneliness theme of the narrative and inevitably makes it more difficult for the viewer to truly appreciate the resonance of story and the characters. An aspect which could have gotten a little extra information for story purposes is in regards to the history of both main characters. By the conclusion, the plot ultimately retains an element of uncertainty as it is difficult to truly gauge the strength of the conclusion on characters who the audience knows almost nothing about.

While neither Verbeek nor Rea provide strong acting performances both are adequate in depicting the different means by which people approach a feeling of isolation. Rea's character takes a more traditional approach to the experience whereas Verbeek seems somewhat off-the-wall. This is not a bad thing as this helps to differentiate the characters and make them more unique, but some of her actions can seem rather odd in an almost overly poetic manner.

Nothing Personal marks the full-length feature debut for Urszula Antoniak. Her control on scenes really does allow for some lovely landscape imagery, if muted by the colour scheme and harsh weather that surrounds the film, for the viewer to gaze up. It all works in enhancing the reclusiveness of the characters and the visual aids thus synch nicely with the thematic elements being explored. This naturalness is barred by some odd editing problems which occur infrequently.

The film contains no violence while language is strong but used rarely. One scene could constitute as sexual in nature but otherwise there is none to speak of, yet breast nudity does feature in two or three scenes.

There is an emotionally powerful story to be told within Nothing Personal and this is noted by a wonderful use of minimal music and colour variety, however it never really succeeds as expected. The narrative does a decent job on impressing the experience of loneliness onto the viewer but, it is unfortunate that Verbeek and Rea are unable to find the connection between their respective character and the narrative material, and the story can feel thin when the credits roll. Still, Nothing Personal is not a film which should be easily dismissed.

7/10

Screen date: 24 July 2010

Release date: N/A (Durban International Film Festival)

Eclipse

Finally getting some blood...

While Bella (Kristin Stewart), Edward (Robert Pattinson) and Jacob (Taylor Lautner) continue their heated love triangle as to what is best for Bella's future, the nearby city of Seattle is caught within a mysterious string of killings and disappearances. The Cullen family fears the worse, as they are not sure whether the problem in Seattle is related to Victoria (Bryce Dallas-Howard) or the Volturi but nevertheless, they decide that it is best to take precautions in case they get caught up into a situation they may not be able to control.

Eclipse continues the Twilight Saga in a far tighter manner than both its predecessors and this allows for a far more effective use of the Twilight mythology. New revelations are made about the cultures of the vampires and werewolves and this aids the film with a more cemented supernatural feel. Additionally, certain minor characters are allowed to voice their respective pasts: this aids the film's narrative with added character depth as well as giving these characters a vital role in the events to come. The overall narrative is structured reasonably well with two poignant story arcs taking place and ultimately fuse by the end. However, the events in Seattle only provides a simple distraction to the poorly conceived love story which is clearly holding back the series. Thankfully, the love triangle in the film escalates into a stronger conclusion than expected, but that does not stop it being rough around the edges and filled with character development that seems out of place. The romance is also portrayed far too positively with the apparent negative consequences of such oppressive love going unacknowledged. Speaking of which, an apparent theme of selfishness can be ascertained from the primary characters yet it is never utilised strongly enough to help connect the characters. The narrative is commendable, in light of the previous attempts, and definitely a step in the right direction for the final two movies.

With added improvement to the story, it seems rather disappointing that the acting of the central three figures continues to just fall short. Stewart continues to proceed in a dull manner and by this stage it may just be what her character is truly like: but scenes of romance are never able to excite as you would expect of the vampire genre. Sure, the intent behind the love which surrounds the characters is understandable but it continues to lack feeling from Stewart though she does build life in the final arc of the plot. Pattinson is not much better but his acts of jealously do admirably convey the sort of sinister nature which belies his character's love: pity the film never plays on this. Lautner continues his surprising performance from New Moon but the script never really allows him to further his contribution. Minor characters continue to strengthen the acting ensemble but it is a pity that those who represent the Volturi, are either limited to a few minutes or are completely absent.

Another slight improvement is in regards to the computer animation, which flows slightly better this time around with the live-action; a soundtrack that does not always feel tacked on for commercial profitably as orchestra highlights some of the high moments in the film; and directorial control that makes for a more well-rounded experience in which some decent action sequences are allowed to come to life.

Language is in running with previous films with its minimal and tame use. There is no nudity but sexual overtones are slightly stronger in Eclipse than seen in the previous films. The violence factor has been increased rather noticeably, either via implication or actual on-screen events. There is a greater emphasis on action but the lack of blood in death scenes stops it ever being overly violent.

The Volturi may not grant second chances, and for the Twilight franchise that is a good thing. Third time lucky it definitely is as Eclipse is a marked improvement over both the original Twilight and New Moon, mostly because the overall quality is better. The narrative has more depth; the actors appear to be getting a grasp of their characters, and all while the balancing of melodrama with action takes place. The story offers interesting depth and developments which ultimately become underused and so it is unfortunate that no facet of the film is really as strong as it should be given this is the third film in the series.

6/10

Screen date: 30 June 2010

Release date: 30 June 2010

E3 2010: Sony Conference Overview

Playstation3

Software
Assassin's Creed; Brotherhood
-Multiplayer beta exclusive to PS3.
-Exclusive content.

Dead Space 2:
-Limited edition includes DS: Extraction with Move support.

Echochrome 2:
-Move title

Final Fantasy 14

Gran Turismo 5:
-Top Gear test track
-November 2 2010 launch.

Heroes on the Move:
-Move title
- Ratchet, Jak and Sly combined.

Infamous 2:
-Ice powers added.

Killzone 3:
-live demo in 3D
-February 2011 worldwide release
-Compatible with PS Move at launch

LittleBigPlanet 2:
-Competitive scoring system
-Make your own games with elaborate tools.
-Create HUD's.
-Trailer shows off user creations in 24 hours with no tutorials from the developers, including a working RTS title.

Mafia 2:
-Exclusive DLC at 1 on PS3 version.

Medal of Honor:
-Exclusive content for PS3 version: limited edition includes a remastered version of MOH Frontline.
-Title is modern day and work was done with actual soldiers, military and weapon personnel.
-New character: Deuce.
-Multiplayer designed by Dice.
-October 12 2010 release.

Portal 2:
-Best version on any console according to Gabe
-Coming 2011

Singstar Dance:
- Uses Move

Sorcery:
-Move title.
-Play as a magicians apprentice.
-Flick at screen to attack.
-Spells include frost which freezes enemies
-Spells can be combined: fire and wind create a fire storm.
-Fix environments with magic.
-Change into different animals.
-Release: Spring 2011.

Tiger Woods PGA Tour 11:
-Move enabled through upcoming patch.
-1:1 movement.
-Power is important.

Twisted Metal:
-By Eat. Sleep. Play - David Jaffe.
-Flight added.
-Emphasis on team play.
-2011 release.

Hardware
Playstation Move
-Launch fall 2010.
-Bundle with PS Eye, Move and Sports Champion for $99; PS3 bundle $399.
-Level of precisio
-Level of precision like realism.
-Camera and controller creates 1:1 tracking.
-Developer praise montage.


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Playstation Portable

Software
Eyepet

God of War: Ghost of Sparta

Invizimals

Patapon 3

The 3rd Birthday

Valkyria Chronicles 2


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PSN

Home:
-Sony E3 booth recreated in Home.

Playstation Plus
-Subscription based PSN.
-Exclusive digital content, priority to betas, PSN store savings and free content like select PSN games.
- $49.99 for a year; $17.99 for 3 months.
First 3 months free.

Tester 2



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Miscellaneous

3D:
- Motorstorm, Killzone 3, Gran Turismo 5, Sly Cooper Collection, Crysis 2, Mortal Kombat, Tron, The Fight, Eyepet.

Coca Cola:
-Cross over advertising with Playstation products.

EA:
-Exclusive content for Medal of Honor and Dead Space 2

Kevin Butler:
-Surprise attendance.
-Advertises PS Move.
-'Every gamer is a true gamer'

PS2:
- 2nd most played console of 2009.

PSP ad campaign:
-Like PS3 ads, with Marcus.
-'Step your game up'

Prince of Persia: The Sands of Time

Dampened sand...

When it discovered that a nearby holy city may be manufacturing weapons for enemy states of Persia, Dastan (Jake Gyllenhaal) and his brothers decide to attack the city in order to stop the treachery. When King Sharaman of Persia (Ronald Pickup) arrives Dastan offers his father a gift that ends up poisoning him. Dastan is suspected of murder and so he flees along with the captured Tamina (Gemma Arterton). Dastan soon discovers that he is possession of a powerful dagger that gives its bearer the ability to rewind time.

The Sands of Time is based upon the 2003 video game of the same name but there are few similarities shared between the two. For starters, the narrative is completely different but that does not stop certain story elements from the game sneaking into the odd scene of the film. Fans will definitely appreciate this aspect but their disappointment in the lack of faithfulness to the original game can be understood to some degree. While adaptations always bring about fun possibilities by never been entirely accurate, Prince of Persia forgoes a tale of the Prince finding redemption in place of a tried-and-tested tale of the protagonist attempting to clear their name of some terrible act not of their doing. This inevitably leads to a variety of locales in place of the single castle which contextualised the game and ultimately feels less unique then the premise of the film allows it to be. That said the story works just fine even though it loses direction on the odd occasion. It falls victim to being predictable at times but a decent mix of humour and some workable action sequences keep the experience from never being dull. On a side note, the film does get some depth from its political allusions to the US invasion of Iraq.

The cast can appear unorthodox considering it is a group of Westerners playing Persians and without any changes to speech. Though considering the original game contained a British speaking Caucasian protagonist, the casting come across more like a stylised option rather than a lack of desire to authenticity. The actors do a reasonable job but consistency is somewhat of a problem. At times the actors come across as flat but thankfully there is a charm to Gyllenhaal, intrigue with Arterton, and workable humour from Alfred Molina which prevents the acting from being poor. The chemistry between Gyllenhaal and Arterton only ever finds ground with their constant quips so their romance never feels involved enough by the films end.

The film is littered with computer animation and many acrobatic manoeuvres. The animation is an on and off affair but thankfully does more right than wrong. The scale of some of the imagery is wonderful such as the establishing scenes of the holy city and especially the Hourglass of Time itself. Though, the scenes involving the reverse of time appear underdeveloped. The acrobatic sequences are fairly enjoyable affairs but they are more akin to the Prince of Persia spiritual successor Assassin's Creed rather than the original game itself.

As a Disney film you can expect that nudity and sexual content play no role in the film. The same goes for language while the violence, frequent and somewhat lengthy at times, is relatively bloodless and involves a variety of weaponry slashes and stabbings.

Prince of Persia: The Sands of Time is an intriguing take on its source material, albeit an obviously commercial one. Perhaps, the creators felt that the original plot was not marketable enough and for all intents and purposes they are most likely correct. The problem for the film is its lack of individuality in a stream of Hollywood blockbuster titles: it is just a pity that with a workable plot and metaphorical imagery that the film never reaches the height of its proposed fantastical nature. Granted, the narrative, acting, and base level sense of wonder gets the job done and makes for a fun time. Though, you would think that if the creators themselves had access to the mythical Dagger of Time, they could have gone back and given the film the needed sharpening it deserves.

6/10

Screen date: 21 May 2010

Release date: 21 May 2010