Tag Archives: Marvel

A night with Clio and Alecto

It started 2 days ago, I have been wondering about the news (no actual new news, just the rehash) and what to write about. I heard snippets all over the place on ‘more of the same‘ and ‘lack of originality‘, yet until yesterday (around 03:30) I had no idea what to consider when the article (at https://www.inverse.com/article/58121-google-stadia-launch-games-6-aaa-titles-to-get-in-november) hid behind ‘6 Huge Google Stadia Launch Games That Will Make You Rethink Consoles‘ to invoke interest in the Google Stadia.

It was the sight of 6 titles that had been available for some time that made me wonder if some people at Google had any idea what they are doing, so I decided now to counter it.

When we look at these games, we see a first person need, no one denies this, yet if the power is applied, we can go so much further. For example, we might see the RPG giant System Shock in a new light (it is being remade). We might look at the Citadel (Mass Effect Series) and consider it is too big (or the death star for that matter), but the situation is nice and contained. What if we set up a large space station, fill it with crew, not spawning them at certain stages, but a station with the amount of people that would ordinary fill a space station. Now the Death Star has been rumoured to contain a crew of 265,675, as well as 52,276 gunners, 607,360 troops, 30,984 storm troopers, 42,782 ship support staff, and 180,216 pilots and support crew, so too large. Yet is the idea too far-fetched? What if we scoop back to Citadel Station (System Shock version) and we have to contain a situation with 5300 people? Now the numbers start making sense. The game has difficulty settings impacting available ammunition, health food and so on and in addition, we can set the scenario to Contagion (zombie apocalypse), Competitor (sabotage), Patent run (thief) and Entity removal (assassin), each with their own issues, challenges and options. The ability to blend in, to not be seen, to steal stuff and more important to remain hidden whilst you optionally kill (or incapacitate) a specific target. Yet the station is different, the crew is completely managed by the system and in some cases it has to be done within a time frame (any except the zombie apocalypse). The option to do it alone, do it together and the fact that this location can be reused gives it all a larger replayability value on a long term premise.

To some extent System Shock had many parts, yet the original had floors and the enemy would not pass that boundary. What if that is not a constraint? What happens when a place that big becomes its complete environment? Like the station on IO in the movie Outland (excellent role by Sean Connery). What if we had a station where the ‘AI’ error of waves of people do not panic (like in AC Unity, repeated to some extent in Syndicate), what if a proper hidden body does not set off alarms immediatly, but what if a missed shift does alert security to seek for the person, a station requiring ID badges becomes a new challenge.

How is this original?

Because the template might have been used to give rise to the environment, it can be any space station. Games like Destiny, Doom, are all about trigger point, all about spawn points and all about flag points. Yet what happens when it is already all there, how do we get through the game when we set off alarms, when we alert security by giving rise to an alarm. I think that this is the part that Hitman 2 really got right. Some will raise concern, but a lot of NPC should not notice, and that is at the centre of a much larger interaction. What if we consider that the stages of Hitman 2 are too confined (not for the story they had mind you), what if an entire city is the premise; do you think that every cop known everyone? They react to the badge, the uniform (medic), the identity (clearance) beyond that they often do not. So to set the ‘futuristic’ stage, millions of gaming fans have voiced the desire to actually walk around the Death Star, On Babylon 5, on the Enterprise, on Citadel Station and so on, yet no one pushed to make it happen to the degree possible, even Mass Effect Andromeda dropped to ball to the greatest extent there, an original game that allowed for (non IP secured locations) to be addressed. Locations to be originally designed, all with the option of giving a run, a challenge and optionally a group of friends united to stop an infection ramping through thousands. We now have the technology (we have had it for 5+ years) and yet they all rehash IP that has been done before. We even see YouTube on the 32 games that are coming, yet rehashing is not a solution, yes they do have some new titles, yet all IP that is already out there, or titles that will also come to other formats. It is interesting, yet we have seen since the very first PlayStation and Nintendo 64 that their true growth was through unique IP, I wonder when Google will figure that part out. We accept that sometimes doing something over is easier and I accept that, yet when we see that these designers ignore dozens of great titles that are on My Abandonware and evolve these titles into a new stage and challenge that will captivate its Google Stadia audience is interesting to say the least. Even now some of these original creators are looking at bringing life to what was an excellent game and turn it into a new great game. I wonder why Google might have thought that this was a path that was not googley enough for them to walk on.

Dinner with Clio

There had been noise around Netflix, several sources, including the article (at https://www.barrons.com/articles/netflix-stock-has-new-worries-including-disney-and-the-loss-of-friends-51563582983) give us a view on optional issues. The article gives us: “For its second quarter, Netflix added 2.8 million net new international subscribers and lost 126,000 U.S. users, versus Wall Street expectations for 352,000 domestic additions and 4.8 million international adds“, some might state that Netflix was not on the ball; personally I believe that Wall Street was setting the stage where the insiders could profit from the backlash of “The company’s shares fell 10% on Thursday, a day after the results. They fell another 3% on Friday“, it is a personal believe, but when we see that the difference between company and Wall Street is a difference of 2.2 million subscribers, a difference of almost 50%, it implies that Wall Street remains unfamiliar with realism. In light of the growing group of streaming services (Disney, Stan, and so on) gives additional rise to the delusional view of Wall Street, especially when you consider that Disney has Marvel in its corner. Yet with the spending spree of Netflix that is set to a $15 billion budget is also a concern. Even as Netflix studios are a one-time expense, the growth needs to come from new IP and mastering innovation in stories, it is the one part that Google and Netflix have in common. I can’t comprehend that they are not considering cooperation in that regard. There is overlap, but one that could be overcome, especially if they need to push Google Stadia to a much stronger position with Microsoft and Apple biting at their heels. They have to set a stage where they can overcome that optional weakness.

As such I decided to give a little diner party, Clio and Melpomene were in attendance, Clio came with a plus one. Not only did they confirm my view of Wall Street, they gave me another example, one I did not know, a story that never made it to print ever.

There is no time, there is no date, it was late summer and in the cool breeze of night, 4800 years before Jesus of Nazareth would be born Hades met with Apollo in a temple at Gortyn. There was no reason, or none that anyone remembers. They merely crossed paths to exchange words. It was after the talk when Hades walked towards the waters at Lentas that he sensed something, he sensed the end of a life and anguish, anguish to a degree that was rare and he moved in a blink to that source. He found a young woman; she looked at him, in pain and anticipation, but not in fear. It took Hades back for a second, this young woman showed more strength and dignity than the thousands of soldiers he received from the battlefields. He gave strength to her to heal by smearing the smallest amount of ambrosia over her lips, her wounds dissipated slowly to show true beauty, her name was Anemone, she was no one special, merely the daughter of a fisherman, brutally raped and left for death. Hades picked her up and took her to a shelter. It was during that night he bedded her and she gave herself to Hades. In that shelter she felt truly happy for months, and it was not until the second week of May that she gave birth, it was not something that she would survive, to give birth to the child of an Olympian was taxing enough the power of death that was there was too strong and it claimed her. Yet Hades knew that would happen, this was now all planned. The baby was named Elissa and Hades set forth his first part, he left her in the care of Tisiphone, Megaera and Alecto. The furies would raise her until she was ready. Over the next years 7-10 Elissa grew fast and became stronger and stronger. The realm of the Furies gave her a never ending supply of cannon fodder. Yet the furies were well versed in all matters and she was not merely of steel, Alecto taught her how to be anyone, to take shape, and how to reshape form. Form was a weapon that could attack the senses, the ability to temper anger to any degree and drive her opponents utterly insane. Tisiphone took Elissa under her wing to teach her about the act of murder, to see in other ways, the ability to charm any snake instantly and make it do her bidding. Elissa learned that cutting a small lock of her hair and cast it could turn it into a snake, to merely draw some poison from it, or let the snake scout for her. She could see through its eyes and she could see the heat of people without the use of a snake, in the deepest night she could see all around her and they could never hide their warmth from her. Her reflexes honed to new heights she was able to strike in the blink of an eye, her daggers thin and short would ensure death to all requiring the veil of Hades to fall over their eyes. Finally she ended with Megaera and there thing changed, as she taught Elissa the power of envy, to see the true worth and value Megaera did something Hades never expected. You see there is an unwritten link between the Furies and the Muses, it is that link that Magaera relied on in the past to see what is true from false and there the game changed. The furies always remember the services rendered and it was at that point that Terpsichore taught Elissa the art of dance and with that skill new levels of balance and creativity were taught to Elissa, Erato taught her poetry of the heart, so that she could always see the true love from the false one, feelings from deceit, as well as truth from planned falsehood, finally there was Thalia who taught her comedy, because Magaera had seen how the jester, the funny person was often overlooked by others, by serious people driven to greed, Elissa looked deeper into poetry and learned that comedy is not merely a relaxant, it was also an interesting weapon. As the lessons ended Elissa had levels of balance never seen in any person that was not Olympian, and it was at that point that Alecto fed Elissa her dinner which put her to sleep and started the dream of what her mother faced that fateful night near Lentas and they unleashed Elissa on the world.

What exactly happened that night will never be known, yet the 4 old men that ravaged her mother were found feasting on the flesh of their sons, who had grown up to be as despicable as their fathers were. In the morning the villagers found the four elderly feasting on a broth containing the bodyparts of their sons; skulls, ligaments were visible in the cauldron, the men old, grey and turned utterly insane chanting slowly and fearful “ένα ακόμα δάγκωμα για συγχώρεση“, Elissa had completed her training and was unleashed on the world, the furies regarded her as ready for a plan of their own.

In a blazing sun

It was deep summer; the sun was relentlessly beating the streets and people. A woman was walking the streets of Heraklion; she ignored the weather and casually looked at market stalls. The street was filled with tourists and she got plenty of smiling looks, it bothered her not, over the centuries she had gotten used to it. She had not seen Heraklion for decades, so she took it all in, she was on an errant to take out a murderer, she was still every much the girl the furies trained, slowly walking towards her goal, it was a building on Evaggelistrias and as she observed the building from a distance, looking at where she needed to be, she looked back at watching the poor boy beaten to death only 2 days before, the police had no clue, but she was not the police, she looked at the building and she saw her target, the two man relaxing, smiling, laughing and drinking beer, they felt good about themselves. She waited patiently until 18:30, most people were starting their meal and she slowly and quietly walked into the building. there was no movement, no sense of anyone and she walked up to their front door, she dropped a lock of hair and quietly entered the house and moved swiftly into the house, the two men were in the kitchen fetching beer and slicing meat, she walked past them as their backs were turned so that the balcony was not a place they could flee from she knocked on the wall and as the men walked with surprise into the living room she merely stared them in the eyes, as her eyes turned deep black, they went pale and white, they over overcome by fear so intense that they dropped their beers, and rant out the door only to see the large snake on the steps, they screamed and ran up, they kept running in fear feeling the hunt of danger behind them hissing loudly, they ran onto the roof running past the water tanks until there was no roof left, they never stopped running, not even as they fell to the grass field on Anogion and the last they felt was the anguish and pain of broken bones blood leaving their bodies and the sound of hissing snakes until darkness set it. Elissa picked up the snake and softly placing the snake in her bag, she would release the snake outside the city limits, her work was done.

That was merely the beginning!

It took me 30 minutes to come up with this idea, another 30 minutes to look into ancient Greece (and a few maps) and 30 minutes to write this, so when we see the implied lack of originality, I am not sure what that was coming from. Creativity is all around us, and it only needs to right spark to set the stage to something fresh. I believe it to be just around the corner and Netflix has an advantage, Disney will not consider certain paths, they rely on families and fairy floss sugary sweetness, it is partially the weakness that Achilles showed (see Brad Pitt in Troy). I believe that the people want something darker. It might have started with an unknown British director named Ridley Scott when he made Alien in 1979; it was that feeling that I had when watching that movie and that same feeling I felt came to me again when I saw Brightburn. It might seem a little shallow, it is not overly epic, but that same feeling is what David Yarovesky left in me, he got the jackpot and if Marvel does not see that and use it (for example in Moon Knight), they will miss out soon enough, Netflix has an advantage because of the limitation that Disney keeps and even if they go via Fox, the delays they call for give Netflix an edge, they merely need to find the right spark to entice watchers, Google faces the same setting, imitation might be the path to flattery, but in this game originality and creativity are much more powerful partners, Even now decades later we still listen to Queen, watch Firefly (or Star Trek) and we watch Top Gun, again and again. Originality and creativity did that, not imitation.

So find your muse and get creative

 

Leave a comment

Filed under Gaming, Media

Merely the beginning

Yes, the news is full of the overwhelming success that Avengers: Endgame is and rightfully so, yet the Washington Post looks further. The article (at https://www.washingtonpost.com/business/avengers-endgamemakes-disney-invincible-in-2019-then-what/2019/04/29/b5e35016-6aaf-11e9-bbe7-1c798fb80536_story.html) gives light to the strategy that is surrounding Disney plus as owners of the Marvel franchise. We get part of it with: “Disney’s films will no longer get licensed to partners such as Netflix during what’s known as the “pay one window;” instead, they’ll go exclusively on Disney+. That’s a big selling point for the streaming app, but it’s a costly decision that reduces the amount of licensing revenue Disney can earn from its films after they leave theaters.” this is a point of view that is true and the strategy is valid, yet having the stage where we see a time exclusivity (like in gaming) where the others get the option after 6 months is not to be ignored as an alternative. In addition, the mention of the ‘real’ editions of the time honoured animations like Aladdin and the Lion King are now on screws, especially after Dumbo has become a miserable flop. That is the puzzle that comes next, as I personally see it, the cast was golden, the director is phenomenal and the story is sound, so why did it flop and is that the premise for the other movies? We know that Robin Williams made Aladdin the success it was; this puts a megastar like Will Smith in an awkward position. To willingly step into the shadow of a giant takes monumentally sized balls to begin with and even as we know that Will Smith is no coward, willing to step into the fringe of movie making, I cannot stop being worried on how Aladdin will fare. As such the other Disney productions will be under pressure as well and that is just the beginning.

Disney has had the longest issue with being too sweet for most adults and even as we saw Pretty Woman in 1990 as a new view on what Disney could do, there was a distinct feeling that the Disney people were so far out of their comfort zone that they needed guides to find their way back. This is particularly important as Marvel has its own dark parts (more than just a few) and without that defining dark there is a larger concern down the road. I believe that so far they handled it fine, yet the worry remains: “will the wrong Disney executive demand the Marvel TV version to be lighter, sweeter and less dark“, so far what we have seen from X-Men: Dark Phoenix, The New Mutants imply that we should not be worried, yet waiting with worries for too long is not good either. What I saw from Cloak and Dagger season 1 is a clear warning, yet perhaps it is also important to consider that the movies will be less in danger of becoming laced with Disney Sweetness than the TV series. Their Metascore of 68 could be considered as supporting evidence in all this. Some gave the following views: “a horribly sentimental soundtrack“, as well as “If you want a show chock full of “edgy” liberal issues thrown into the plot regardless of if it fits with the story, then look no further” (which was the most negative review) we see the initial issue. Even the more positive ones give us “Through its initial four episodes, the real star of Cloak & Dagger is the structure and editing and overall environment more than any individual actor“. I believe it that some of the changes took away the dark side that would have made Cloak a lot more appealing, it was his dark side that appealed to me in the original comics; the TV parts I saw were too emotional, I am not stating that this is a bad thing, merely that . The comic books decently graphic about his devouring hunger, I missed seeing that in the few episodes I saw. Yet it is not all bad, Mayhem is showing to be the direct confrontational angry type she was in the comic book.

This is in part my issue; Disney is seemingly trying to skate away from the darkness is what will have a larger non positive impact on series that were pretty phenomenal in comic book form. So far the silver screen Marvel productions have exceeded expectations swimmingly; it is what I saw in Daredevil, Luke Cage, Iron Fist and the defenders that felt off, not bad, but off.

It is not the cast or the work done, no matter what, Mike Colter makes Luke Cage totally believable and real. I believe that the scripts fell short (from my personal point of view). Perhaps it is my non-US view, the fact that there had to be complications and conspiracy plots from day one in these series is why it is falling short. Even as we hear noise like ‘creative differences’, I believe that the entire conspiracy twinkle has ran its course to the largest degree, to be honest, that is why I stopped watching Kiefer Sutherland in Designated Survivor. The series started great and then when we suddenly see an FBI director compromised around episode 6 that was it for me. Oh, and before I forget this is a series that is all about conspiracy, but the way it is done was too far out there, it lost flavour. I believe that Marvel series have been pushed into that field too much as well (as well as several other comic book based series). I believe that the effort to go too deep too fast to please an audience is exactly why appeal is lost to some degree and Luke Cage gets to pay for it (as well as Iron Fist). With over a dozen movies coming in the next 2-3 years as well as optional TV series, this critical look early on will be more essential than most realise. You see, a Marvel overdose is pretty much similar to a Star Trek overdose, at some point we lose the interest to watch it, which is actually opposite to the feelings we had with the comic books and as such we have to consider our point of view. Now, like the comic books there is a filtering, most of us do not care for all the franchises. I was a die-hard Batman and X-men fan and I never got into Spiderman that much. I still loved the movies and I read the comics at times, but it was not my number one, neither were the Fantastic Four. That’s fine because Marvel (and DC) had a flavour for everyone, so much choice, as such we would be more protective of the comics we were nuts about and that is fine too.

Yet there is still Disney to consider and their long term need to make everything too sweet and too ‘pink’. Even as we realise that most cancelations might be linked to IP and the fact that Netflix will be a direct competitor of Disney+, yet the idea that Disney is a little too uncomfortable with these dark tainted series on Disney remains a concern for many fans and as such it is a concern for some fans of these series that they are now part of Disney. The factual reasons are not out there, or perhaps better stated, there is no source I trust to give me the actual truth (except a joint statement from Marvel and Disney and that is unlikely to happen).

Even as Forbes gives us: “Marvel meanwhile plans live-action series for characters including Loki, Scarlet Witch, Winter Soldier, and several other characters“, the die-hard fans will now wonder whether we will get the Asgardian Wars on TV or silver screen, not only as it was an awesome story, but that also puts Asgard, the X-men and the Canadian Alpha Flight team on the range implying the coming of a few more series, or movie franchises. All of them have a large following, so Disney would be nuts to walk away from an optional few billion more. Yet that does require Disney to allow for very dark streaks in their acquired paintings and that is where the problem is likely to rise, or at least that is what I think is likely to happen.

Even as Disney can ignore everything this year, the year that Avengers: Endgame broke every record, the long term view is less of a given, with view n 2020-2023, there will be more issues and other issues to deal with, not all of them revenue driven, but revenue will be the mainstream in any discussion that surrounds whatever ‘creative differences’ we will see make the headlines on all kinds of media channels and to ignore this so early in the year is not a healthy thing to do, especially as most of the upcoming movies will be staged to bring in a billion plus each. As stated, I do not think we need to worry about the movies too much, but the Marvel TV series that will be another matter, they will be the bread and butter of Disney+ and those people like their shows a little too sugary to my taste.

Leave a comment

Filed under Media, movies

Removing the floor

OK, I have made predictions in the past and most were close to spot on, some were just a little off, yet I had not ever for the life of me gotten it wrong by half a billion before. In ‘First the Soft‘ at (https://lawlordtobe.com/2019/04/27/first-the-soft/), I made the prediction: “we now see that Avengers: Endgame is heading towards a 700 million opening weekend (globally) is no stretch, it would make it the largest opening weekend in history“. Some claimed I was being too optimistic, perhaps I was at that a little; I now see from several sources that the estimate was off by a lot. The sources mostly re-quote Variety and when we realise that the reality of “According to Variety, ‘Avengers: Endgame’ pulled in $350 million in the US and an incredible $1.2 billion worldwide in its first weekend. This smashes the ‘Avengers: Infinity War’ take by over $500 million“, we can agree that my thoughts on it being the best Marvel movie ever is not even close to the mark. The movie is now listed on 18th position of the best money making movies ever on a global scale, from naught to 18 in one weekend. This now implies that the movie could shoot to 3rd position in a week, optionally replacing Titanic in 2nd place, it is a record that James Cameron held for 21 years, and he also held the number one spot for 10 years which is now in equal danger of getting surpassed by Avengers: Endgame soon thereafter. I believe that will happen, yet the speed at which this could be happening at has never been seen before.

This news is actually more important than you might think. You see Hollywood is nothing if not revenue driven, so there is every chance that my beloved comic books form the 70’s and 80’s will find themselves to the big screen or some Netflix streaming channel. This is both awesome and optionally sad. When the money makers see the amount of money Marvel just grossed, it will make them step into the fairway and claim their own billions. The sad part is that there is every chance that people will concentrate on their dollar shaped pupils and forget that Avengers: Endgame is the result of 11 years and 22 movies, so whatever they do they need to be careful not to squander the option they would acquire.

One of the front runners in this would be the work of Don Lawrence. He became famous with the works of the Trigan Empire as well as Storm. The Trigan Empire has everything to become stellar, it is placed in what would be a ‘Nova Roma’ A roman empire but in the 21st century, so we get decadence, martial impact (for references see the Spartacus series), direct encounters (read: sex, combat and confrontational resolutions) as well as other elements making it highly desirable to the watchful eyes of millions. Getting it right would be an essential part in all this. Remember, that I Claudius failed in the first attempt until it was done right in the 70’s.

In second place there is the Spanish artist Segrelles who gave us ‘El Mercenario‘, a little more fantasy, but most pleasing to the eye in more than one way. It is utterly lacking realism (the dragons are a dead giveaway) but the stories have been intriguing since the beginning and the art has a certain flair that does go with the need for excellent story telling.

I am not giving you a top three. There are so many considerations. There is the Flash Gordon from the 70’s, there is Diabolik, although in this case it seems that Murdoch’s European pay-tv operation are already on that case, so I reckon that if they make that one dark enough, they might have an instant hit. This all has one additional benefit for me, there is every chance that someone will consider reprinting the comics by Angela and Luciana Giussani, a win-win for all. I believe that technology was the greatest push here. Now that special effects can set the stage more closely to what the comic book makers envisioned and gave to their audience, the sky has become the limit and as we see more and more revenue towards streaming, there is every chance that the biggest delays will be finding the actors committing to a series and finding the right actors, manpower will become the largest obstacle for moviemakers in the foreseeable future. I will happily volunteer there, but I know I am no Inspector Ginko (or inspector Gadget for that matter).

Yet we can also look into the other direction, for that we merely need to seek out André Franquin and his office boy Gaston, every company seemingly has one and therefor would bring instant joy, laughter and entertainment on a global scale, all mostly untapped ideas as American Netflix has been too localised in their searches (as well as the method of finding new stuff). Yet with Disney Plus on the horizon and other players like Stan making more and more waves, we might see a bidding war for the IP rights of these works soon enough.

 

 

Leave a comment

Filed under Media, movies

The race by Marvel

Today is the day that many will be able to see Captain Marvel, the marvel version of Superman (extremely oversimplified), for many she is an icon, for those who did not really know her because they were not into comic books, or for any other reason, I can tell you that she is not new. Captain Marvel goes back to December 1967, and now, 51 years and 4 months later, she is made ‘real’ on the big silver screen by Brie Larson. We might think that this is just another movie, but we would be wrong. Captain Marvel has a huge following and more important, she will be instrumental in the movie Avengers: Endgame now 7 weeks from release. The stage is not a small one either. When we consider that not only was Infinity War the 4th most successful movie in history, and even as we see a little pressure release due to the fact that Black Panther ended up with Three Oscar’s, the fact remains that 4 Marvel movies grace the top 10 of most successful movies ever made, representing $6.3 billion dollars in revenue; for Brie Larson it will have a large impact down the track. Even as Captain Marvel 2 has unofficially been confirmed (even before the first one was released, so that is novel by itself), Marvel has seen the gold that the silver screen spins and it is not stopping any day soon. Phase 4 which includes Guardians of the Galaxy 3, Dr Strange 2, Captain Marvel 2, Black Panther 2 as well as an Avengers 5 movie, we see the stage where the new face kicks off with Spider-Man: Far From Home, and the return of ‘Donnie Darko’ (in the form of Jake Gyllenhaal) as Mysterio, who is of all the villains, one of the more colourful ones, so the Spidey fans are already chomping at the bit. The fact that Spider-Man: Into the Spider-Verse is heralded as one of the best animated adaptations of Spiderman ever, a movie that got a 97% rating, which is amazing helps too. We agree that $363 million might not seem much, but when you consider that the movie costed a mere $97 million to make should send the Spidey vibes in the spinal cords of producers Avi Arad, Phil Lord and Chris Miller. A 374% return on investment is not to be taken lightly. The upcoming phase 4 comprises of at least 8 movies and also includes a Black Widow and a movie featuring The Eternals, if we expect that Avengers 5 will be one of these titles, we can expect massive amounts of viewing pleasure between July 5th 2019 and July 29th 2022.

We can clearly see that not only is Marvel on a roll, the kick off that starts today could optionally reward Marvel with additional $4 billion before June 30th 2019, giving them close to $12 billion in total, that is one hell of an achievement for phase 4 to surpass. There is another part that these movies are prepping for. It is my personal view that Dr Strange is at present the best 3D movie made (a personal observation), the adaptation of 3D into the stage of the supernatural was absolute gold and until today no one has surpassed that, and I wonder if Captain Marvel, or Avengers: Endgame will be able to break that record.

For those who grew up with comic books (like me), the 2019-2022 timeline could end up being absolutely marvellous (pun intended). No matter how we slice it, Marvel has achieved the part that its fans dreamt of for centuries. They are showing us movies that are real life comic books, a thought that Avatar hinted at 10 years ago, and Marvel exceeded that expectation by a fair bit. I wonder what else Marvel will throw at us. Consider if you will a really dark approach to Moon Knight, and perhaps full on raw, in your face versions of She-Hulk and Spiderwoman. The dark versions that their comics characters had as a history could revitalise other parts too. I personally found the Marvel ‘darker’ characters way to vanilla. Especially when compared to John Constantine, Batman (legends of the Dark Knight) and huntress.

So what happens, when we combine the stage (all within Marvel), a stage where we see the character Magik (Illyana Nikolievna Rasputina, sister of Colossus, the metallic dude in both DeadPool movies) and Moon Knight in a really dark raw supernatural setting? We have seen a truckload of ‘decent’ series getting loads of attention. So what would be the result when we take a few of those characters, with the directness of a John Wick and really go to town?

Not some vanilla edition of Emma Frost (still appealing though), but a version where Auntie Amy cannot be found, because she was part of diner. We have seen that series like Trueblood, Vampire Diaries, Spartacus and Game of Thrones have clearly shown that we are more than ready for the darker and direct editions; we want to see that darkness. John Wick is now in the third installment of raw and direct violence, Game of thrones is starting season 8 with all the bloodshed (and saucy nudity). Marvel implied having such people in several cases (read: Comic Books), but was clearly geared towards an almost adult population (14-17 years old). We see that the elements are all there and several characters could deliver a much darker version on Netflix or the big screen. As we see that there are billions to gain, will Marvel take that step too?

I reckon that they need to consider their options, yet there is still DC and optionally a few others (like Top Cow). This will almost literally be first come, first on optionally most gains. Time will tell who made the jump. Marvel has the characters (a truckload) and the opportunity; will they however make that jump, or make it too late?

#where is Auntie Amy?

Leave a comment

Filed under Finance, Media, movies

The future arrived Yesterday

I was at an interesting gig yesterday. I was introduced by a friend to several new options to engage with an audience, and options to interact in engagement, not mere presenting, we got to see true engagement. Several solutions that by them self are impressive enough, but combine the abilities we see options for engagement that will knock the socks off from players like Marvel and Nintendo, options that large players like Microsoft set aside for too long, options missed by some players as they are pushing for similar results again and again. Yet like the failures of Ubisoft in the past, as I stated it ‘a game that was designed to not be a failure will in equal measure never become a true winner‘, Ubisoft learned that the hard way with the their Assassins Creed franchise and now, we see opportunities that EA Games could get with FIFA19 and micro transactions, not just that, the act of engagement would allow for plenty of additional visibility towards groups that are currently not considering certain products. Engagement has always been the primary key in that and I saw a truckload of that, much of it in a new wardrobe that fits basically everyone.

So even as some are given to be a display towards retail, they have the ability to be much more, this is a marketing dream and all available for so many participants before this year’s Christmas shopping spree sets in. Options that are more than just engagement, they are optional content distributors, unlockable gems that people in certain areas love, a simple image that can immediately translate with you in the foreground and your destination in the background, combined send as a postcard to your mobile on the spot.

It is a simple setting, where an RFID scanner that could instantly reveal what the Nintendo Amiibo offers to the customer in store, not relying on dodgy third party lists, one Nintendo list and places like EB Games could in store reveal what the person is buying. The applications are here and not in the stores, not used by players that could gain the brand additional momentum, so what gives?

Well, for the most retail and larger places are seeing these devices and solutions as a cost, which they are (to some degree), but they in equal measure forget the opportunity that they bring. If we consider Market Watch (which I question), we see the setting that the games market, in particularly the Augmented reality Gaming Market, we see a forecast where we are treated to According to Infoholic Research, the “AR Gaming Market” is expected to reach $284.93 billion by 2023, growing at a CAGR of 152.7% during the forecast period 2017-2023“, I still think that this is ludicrous, I have zero percent faith in that, or to state this that I am predicting that this is 100% wrong. Gaming is a 135 billion dollar market globally, if we get “expected to reach $75 billion by 2023“, then this would be an awesome result for AR gaming. I am certain that Infoholic Research did not just get their wires crossed; I feel that they are buttering someone’s bread on both sides. In both normal gaming and gambling, we see that there is a trend on the rise and some of the systems shown yesterday can grab in on these potential markets in several ways, it is up to the creative marketing mind in the larger places to use this not merely for branding, but also for creating awareness and grow interest through engagement.

Consider that this goes further than mere advertising and branding, consider the information kiosks, you might wonder what a mere information kiosk could add. The new generation can also scan you or what you are holding. A logo, a brochure, or merely a QR code. These parts can immediately be converted to a shop with location, a digital travel brochure that can be interacted with on the screen or merely a QR code that your mobile device can scan, giving you the app, the additional information or a mere YouTube video to watch. All options actively available now and when you place such solutions in a place like Neom (for those not in the know) “Neom is a planned 26’500 sq. km transnational city and economic zone to be constructed in Tabuk, Saudi Arabia close to the border region of Saudi Arabia and Egypt“, and Saudi Arabia has set aside 500 billion for the creation of that city. The option of being the first and more important, setting up the 5G hub allowing a primary spot for a 5G growth in both Egypt and Saudi Arabia, a place where Huawei is already roaring to set up shop, they have the lead there, and now consider that the push from the Saudi Arabia government is all about being ahead of the rest, the smartest of all smart cities and it will not take long before they realise that to get ahead of all the others you need to be willing and ready to have solutions for engagement there, primed, active and ready to grow. More important, three months ago, we were treated to “Chinese tech conglomerate Huawei is already committed to training 1,500 local engineers over the next two years“, so this is one place where Telstra got in way too late, as did the European players. The hub for a 120 million customer 5G population, when I mentioned this in the beginning of this year I was not kidding. Now we see that certain paths have started, we need to look at how you can get a smart city population to engage, because that is the trigger for growth. This directly relates to gaming as gaming is the big equaliser here, it has always been that, as early as the early 90’s. For 25 years I have seen how gaming and engagement lowered the threshold for those nervous about technology and yesterday I saw a whole range of engagement opportunities. Not merely interactions and RFID application in other ways to show interaction, but a setting where it pushes non-personalised data to a tenfold and that data can push the curiosity towards engagement for everyone.

When he European commission gave us the ‘What 5G is about‘ most looked at it and thought ‘Nice!’ what they missed is that is goes beyond mere RFID and Domotics. The direct interactions of Smart Wearables, Smart Mobility, Smart Grids and Smart Parking show that when the car is low on fuel (or an almost empty battery is you have a Tesla), the SATNAV will reveal the closes fuel point, or warn you if you cannot make it to the homestead, the smart wearable can link directly to health care, the nearest pharmacy, the doctor allowing for a prescription on the spot, the phone that now shows a map and receives the information YOU wanted to engage with from a kiosk that is now also a data hub and transfer point of information, all on the fly without YOU having to type anything, all done intuitively on the spot. In all this, you remain in charge of your data and (except for the healthcare part) all null and void of actual personal data.

 

Let’s take this to a next level, some have seen something like this, it looks like an old amplifier volume knob, but it is actually a Bluetooth speaker, place it on nearly any table and it becomes an amazing speaker, yet the next level is not merely a speaker, it is also perfectly placed to be a data hub. Now combine that with a sheet of Perspex as a display (at https://www.youtube.com/watch?v=fdDAG0uwg3s), when we combine the three, we get the information on the kiosk, transferred instantly to your ‘speaker’ that is also the data hub and displays the information on that sheet display, wearable or other option. Maps, data, and brochures, all instantly available; Google already owns that solution, a solution that is merely awaiting implementation. A setting driven by what I would call ‘dumb’ smart devices. All the fear of personal data gone and total interactivity remains, engagement and the ultimate lure that draws consumers into your business; that is what engagement allows for, no other way will get that great result because that is the advertisement of tomorrow, not the data they hold, but the curiosity that they bring, all linked to the need for engagement. All those people, millions, who would walk in because your window had something interesting to show, yet now it is not your window, your window is also in every data kiosk, every advertiser point and every screen.
It is no longer about the mobile, people are less trusting with their data, but a smart (dumb) device, their watch, their Pendent or ring, now a data hub and consider that the 15 mm for a micro SD fits into rings, pendants and watches, all optional long term data hubs on the go, without any long interaction and we can get 32 GB for a mere $5. Picking up the ideas and interacting from place to place, our shopping needs and information on the fly when YOU want it; the data kiosks merely one of many places to interact with the addressed needs everywhere.

All settings not yet available in such an advanced state and all options out in the field for those willing to be the enterprising in the new places where they are willing to spend $500 billion in total, to make a next gen tech hub a reality. Or as Jeremy Irons stated in Margin Call: “There are three ways to make a living in this business. Be first, be smarter, or cheat“, he said it and I agree, it is always best to be first and whilst some are still trying to market what they are trying to set as 5G, we see that Huawei who are setting the stage on what 5G could be, Huawei s in the implementation stage of preparing the engineers of setting it all up in a live environment. So whilst America is still in anti-China mode, we see “Now, the whole industry is taking the final sprint towards 5G commercialization. The completion of SA specifications which complements the NSA specifications, not only gives 5G NR the ability of independent deployment, but also brings a brand new end-to-end network architecture, making 5G a facilitator and an accelerator during the intelligent information and communications technology improvement process of enterprise customers and vertical industries” and Huawei has already started in Saudi Arabia, so my other prediction is coming to pass as well, By Q1 2019, Saudi Arabia will become a market leader in 5G and will connect with Europe soon thereafter. In all this Australia things will go from bad to worse, especially as we cannot tell whether we need to consider if people like John Watters, Executive Vice President and Chief Corporate Strategy Officer of cybersecurity firm FireEye Inc is bedding Telstra or the USA, the fact that no one has been able to produce any clear evidence in Huawei’s ‘dependency’ on the Chinese government and the overly fearful US Tech as well as Telstra in all this is more than what I consider to be merely a sham, they are currently quite the opposite of embracing engagement and new tech, it will end the end make them look like the fools they should have been trademarked as in 2017.

So as we might remember Telstra at IT News with “Telstra said in a slide deck that “full commercial deployment of 5G in capital cities, major regional centres and other high demand areas” would occur in financial year 2020“, we can now see that they will be almost a year behind Huawei. Al this angers me, merely because it stops advancement and innovation, which makes Saudi Arabia the one remaining golden opportunity for true 5G innovation and yesterday’s presentations showed me how much many more avenues can be approached, because some of the innovations are out here today, in some cases, merely linking the solutions remain. It is important that we consider the Huawei part a little longer, it is important because 5G is so crucial to all this. When we see the article (at https://motherboard.vice.com/en_us/article/59w49b/huawei-surveillance-no-evidence), we see that the title gives us: ‘There’s No Public Evidence Huawei Spies on Americans‘, in addition we see “Huawei’s efforts to make inroads in the U.S. quickly resulted in numerous allegations over the company’s alleged connections to Chinese intelligence. Despite breathless hysteria, numerous investigations (one 18 months in length) found absolutely no evidence of such a threat.“, as well as “a follow up report by Reuters indicates that there has been pressure applied on U.S. telcos to avoid doing business with Huawei, with companies like Verizon and AT&T being told they risk losing their lucrative government business contracts if they strike deals with the massive Chinese multinational“, when we complete it with ““We knew certain parts of government really wanted (evidence of active spying),” one person familiar with the probe told Reuters at the time. “We would have found it if it were there”“, now we see the parts missing, in all this the Australian government needs to be optionally seen as a dog collar without a leash around the neck of a rabid dog named USA. This all smells like AT&T and Telstra in desperate need to not get drowned by an actually innovative technological opponent, who did just that, they became truly innovative. We need Huawei in all this more then most can comprehend.

To get this a little better, we need to look at ‘Media Engagement and Advertising Effectiveness‘ by Bobby J Calder and Edward C Malthouse. Here we see “Traditionally, marketers have thought about advertising as a process of translating a brand, expressed as a benefit, a promise to the consumer, a value proposition, or a positioning in the consumer’s mind into a message that is delivered to the consumer through some medium. This advertising will be effective to the extent that the consumer values the brand idea and the message does a good job creatively of communicating the idea“. Yet when we consider it more fully, we see: “It is engagement with a TV program that causes someone to want to watch it, to be attentive to it, to recommend it to a friend, or to be disappointed if it were no longer on the air“, through engagement, the TV Series Lucifer was not cancelled, it moved from Fox to Netflix, merely by the acts of engaging fans. Engagement can be that powerful and it goes beyond merely revitalising a TV series, it will be the bread and butter for most companies as growth is often seen as  linear with ‘advertising’ whilst we have to accept that exponential growth can only be achieved with an actual engaging audience. Because like in Facebook, that one engaging person is linked to dozens, if not hundreds of others, and their actions are more easily accepted by their close connections then the one advertisement is. In two stages this is seen that one engagement is optionally 900 hits in a low estimation, versus a mere advertisement that gets 5% out of 10,000 shows, so it took 10,000 attempts to get 500 people taking a second look, whilst one engagement event could be the start of 900 instant opportunities, so which option would you more likely turn to?

Yet, we must also be aware of the negative side in engagement. Calder and Malthouse give us that with: “Intrusion may produce a negative response from consumers because the advertising harms the experience of the media content. This in turn could lead to a negative reaction to the advertising, compromising its effectiveness. The consumer may feel that the ad has intruded on the experience with the content and accordingly may have a less positive reaction to the ad“, so in this the interactive kiosk becomes again not merely a vehicle, but THE vehicle in all this and Time is the one currency that is at the centre of it all, it is time that usually and largely triggers the intrusion emotion (waiting, or idle time tends to do that). With the smart ‘dumb’ devices, the automatism of storage whilst the interaction is merely a second, perhaps even two seconds. The element of intrusion decreases and engagement remains, or optionally even increases. It is achieved as the advertisement is not the focal point, but merely part of it and the experience is not impeached, as we get 125Mb in that one second, we get the brochure, the movie clip, the setting, the review and the applicability; all available to watch at our leisure and when we want to decide what to see and how to watch it. So from a $5 32GB Micro SD card, we can get more with a $100 200Gb card, and that is now, in 2-3 years we can get 5 times that storage for the same price. In this non-personalised interaction setting, we achieve to get heaps of analytical information whilst driving engagement. So in that we are confronted with all the latest trailers by merely passing a cinema. And we can just leisurely watch what we need and wipe the rest. It is a brand new day and those ahead in the game get to set that stage of new tech needs for an entire population, engagement is the key element to drive all that.

The future arrived yesterday, whatever will we get treated to tomorrow?

 

Leave a comment

Filed under Uncategorized

A Marvel Time

So we heard the news, we read the stories and they are all beyond what most expected it to be. Not only is Black Panther in 9th position at present, it is still on the course to get to 8th position within 2 weeks, surpassing Harry Potter and the Deathly Hallows part 2. It is unlikely to catch up with his brother on 7th (Age of Ultron), which now implies that within the coming week 4 Marvel movies will be set in the register of the 10 most successful movies of all time. These are The Avengers, Age of Ultron, Black Panther and upcoming racing to number 4 or higher is Avengers: Infinity War. some of the players saw this coming (I was one of them), yet I was late to the party, merely because I never looked at some of the other numbers, for me it is and will remain the joy of watching a movie on the screen, preferably the big silver one. I expected this to some extent, as I mentioned it in my blog ‘the successful and the less so‘ last week, still seeing that the movie made a global $1,166,407,350 in 10 days is still hard-core awesome. And Netflix is picking up on it, and has been for some time. You see there is a good, an evil and a dangerous side to all this. When we consider the ones in Netflix Marvel’s Agents of S.H.I.E.L.D., Marvel’s Agent Carter, Marvel’s Inhumans, Marvel’s Daredevil, Marvel’s Jessica Jones, Marvel’s Luke Cage, Marvel’s Iron Fist, Marvel’s The Defenders, Marvel’s The Punisher, Marvel’s Runaways and Marvel’s Cloak & Dagger they might think it is all good and dandy, but the danger is that there will be too much Marvel on the retina’s and they will learn the one lesson that Paramount learned too late with Star Trek, too much of it is also not a good thing. I accept that like comic books I never read them all. I was nuts about Batman and the X-Man, and my youthful best friend was all about the Avengers and the Fantastic Four, so on Saturday we read the ones we bought and quickly exchanged them on Sunday to give back on Monday, a ritual that went on for years because as younger people our budgets were limited. The fact that we can let ourselves go on Netflix like a teenager who ‘accidently’ gets locked in the pastry shop all night long has several issues which we will not go into. The evil side (yes it is), is not how the approach is made, it is how it is translated to the screen, the fact that the social roles of Tandy Bowen and Tyrone Johnson are reversed, because in this day and age it would fit either way, but the darkness of the original comic books is lost when we see “acquire superpowers while forming a romantic relationship“, the actuality is lost, because in the actual story it was not some “superhero love story”, they were captured and experimented on to make drugs more efficient in creating addiction, the experiment went wrong and they acquired superpowers, they were set together in a deep bond because of the rage and violence, drawn together as they needed to rely on one another. That darkness that was the appeal for many who loved the comic and it all got a little more interesting as police detective Brigid O’Reilly became Mayhem. So we have a switched setting, that darkness gone and I am uncertain that ‘watering down’ American issues is any way to get anything done, that darkness held an appeal, that appeal is now lost. The danger is also escalating as more series take a ‘lighter’ setting to the visualised darkness that some readers embraced and watering down remains a bad thing.

We acknowledge what Marvel has achieved and we are in awe and in desperate need to view of what comes next, but by saying that, we need to see that some of the darker parts have their own appeal, it was voiced many times with Logan (2017), the darker side was well captured and it was widely regarded as the best Wolverine movie of the lot, Wolverine basically left on a high and that should have been comprehended by those in charge of the Marvel IP.

I believe that to some extent, the Rotten Tomatoes score seem to indicate my version of deviation from the comic books when we see the Punisher with a mere 62%, yet as I am extremely unaware with the some of the comic books, I cannot explain Iron Fist (18%) and the Inhumans (10%), I am willing to wager that the oddity of the Inhumans is more like the Guardians of the Galaxy (little exposure to either comic book), yet the movie got it just right, whilst the Inhumans on the TV series might have (speculative) faltered there.

I reckon that we all have our guesses on that; I am merely telling you that my guess will be as good as yours. It is actually a shifting situation, as the fans got introduced that the Marvel series are moving to Disney, there is a side of me thinking that this is a bad move, not that they move to Disney, but that they move away from Netflix, you see, Netflix has massive momentum and Marvel alone cannot create that momentum for Disney overnight. They need to realise that they are poisoning their own well, they are setting the stage where they decrease momentum. Netflix has 118 million paying viewers, there is definitely space for a second channel and by the time Disney resets its brand to ‘include’ the mature watchers, they will optionally have lost 3 years and many millions, so whilst we see nearly a dozen series take hit after hit on amount of viewers, how do you think the future for all these productions are set? It is not merely the advertisers who take a back gander in all this, whomever is making that decision at Disney needs to realise that they are undersigning close to $200 million loss for longer than a short term, so by the time the momentum is back on the road half a billion is gone, with almost no option to recapture that, do they not realise that?

And no one is insensitive to the Marvel Universe, most of us have been exposed (beyond the comic books) through animation series, TV series and other means of exposure like video games and we all know it works, yet in that light being extra careful, not brazenly blunt is the way to go for a long term setting with a fickle viewing audience, because DC is just one step behind. They had several fumbles and whilst the relaunch series started their successes with Smallville (2001-2011), they still have the same issues that Marvel has. I believe that Constantine showed part of that flaw. It has the goods, yet in my personal view was not willing to be dark enough, it is a view that Europeans and former Europeans share and in all that it is an important side, because they are 50% of Netflix at present and they represented 61% of the Avengers: Infinity War revenue (actually the non-Americans are that), but a massive part is Europe and in the equation of revenue that is a lot more important than the producers realise. You see Cate Blanchett, Hugh Jackman, Chris Hemsworth, Benedict Cumberbatch and Tom Hiddlestone are not just excellent actors, they are non-American actors and that ‘non’ part is equally important. Europeans seems to be identifying themselves easier to these actors which is becoming more and more of a factor. And that is nothing negative on the quality of any of the American actors, which is of the highest quality. So as we realise that non-American parts are increasingly important, why is the embrace of the story so often too deeply soaked in American ‘value setting‘? It is not merely that a person like Mark Wahlberg was in Boogie Nights, he was awesome as an actor, it was merely the setting and directness of Boogie Nights that captured the global heart, the fact that this movie was American in origin was even more astounding. That is the captured emotion Marvel (DC also) needs and I believe from my side that going deeply dark on some of the series will not be negative, most will see it as a refreshing side to a comic book universe that has many colours. I believe that in that regard Witchblade was made too early, it merely got through 2 seasons, like the Darkness (also a Top Cow production) it was deeply dark and as special effects could not match the comic books (it pretty much can today) as well as the need to be dark as hell (pun intended) showed over 20 years a setting embraced by many readers and mostly appreciative of the amazing illustrations. Marvel still has a few option (they have loads actually), yet the setting of a darker presence they have the series Moon Knight, which ultimately led to the Secret Avengers (how secret can a comic book actually get?). Even as it started with the inclusion of Captain America, Black Widow, Ant Man and War Machine, it would also give us temporary people that have been in several comics like the Avengers and Thor (Valkyrie), X-Man (Beast) and New Warriors (Nova), Moon Knight, even as you might have seen him in a comic or two with Spiderman, remains unknown to a much larger audience. It would also grace presence from Hawkeye (played presently by Jeremy Renner) and Venom (agent Venom), the Flash Thompson version. So not only are a few characters darker, the interaction might allow for a level of darkness, or perhaps better stated ‘living via less legally accepted values’ to interact with the greater good. It is a part that Civil war scratched on, yet as we know that it had been in the central side of many comic books for the longest of times (the DC Azrael series as well as Knightfall), the acceptance that we have that by the book never gets us anywhere and going overboard to the extremely other side is also accepted as ‘existing’, those who are in denial of that existence, please look up ‘mercenary’, ‘Blackwater’ and ‘Aegis Defence Services’, so there is that to consider. We are already seeing the reality of certain places and the issues they provide and solve (and create). So part of Moon knight is already fraught with examples that go back to the Congo and as present as Syria (some Russian corporation), the absence of that darkness is in the end not a good thing, things become ‘too vanilla’ is perhaps not the right tone, but when we consider the near impossible achievement that Avengers: Infinity War created, we need to see that staying on that exact course is not achievable as it started with almost a dozen other movies (3 Iron Man, 3 Thor, 3 Captain America, 2 Guardians of the Galaxy, 1 Dr Strange, 1 Black Panther and several Spiderman’s), so that foundation was well designed and part of the creation of the hype, but pulling that off again might not be possible to that degree. Now it becomes a melting pot of settings between light and dark, good and wrong, evil and optional.

Philosophically we could speculate that we are shaped as people through the interaction of extremes, so ignoring the other side, or perhaps trivialising it through caricature characters like MODOK (Mechanized Organism Designed Only for Killing), we can giggle on it in the comic books in an obsolete episode (read: one off), yet when it becomes the main boss in a TV series, the people will change channels to watch the late news pretty quickly. I believe that making Constantine much darker, by adding these options and by not making Cloak and Dagger some love story, momentum could have been gained. There are plenty more opportunities there, yet I feel that the overall package might at some point become lesser. I feel that the evidence shown in the movie Watchman, the darkness that Rorschach represented was perfect, overall the exposed darker side was what made the movie an absolute gem and of course there was no lack of evil when we saw a blonde version of Matthew Goode playing Ozymandias (nyuk, nyuk, nyuk).

So if that one side of Marvel can get addressed they will optionally be having an even bigger marvellous time than they are already having. there is larger premise to my consideration, we see this over the ages as Marvel has had its share of ‘darker’ characters, it is seen in Spider Woman, who is originally set as “In her first appearance, Spider-Woman was to be an actual spider evolved into a human as imagined by writer/co-creator Goodwin. Her debut was shortly followed by a four-issue story arc in Marvel Two-in-One in which Wolfman presented a different origin retcon as he felt her original origin was too implausible for mid-1970s readers“, it was the sales of Marvel Spotlight#32 that took it to a new level. Even now as we see gene splicing, we see the setting of adding to the human gene, yet the setting of adding human sides to the other gene is still a little far-fetched, yet in 40 years we have gone from ‘too implausible’ to merely ‘implausible’, so there is progress. In all this we have the presented setting like the movie Ex Machina, Kirk Langstrom (man bat character from Batman), Venom, my favourite Alex Mercer from the Prototype series and last but not least the original X-man Beast both the Kelsey Grammer and the Nicholas Hoult edition. There is a league of settings that Marvel (as well as DC) already offered and it seems they are stepped over (read: partially ignored), not merely in one part as they weren’t as successful as the Asgardian characters or the billionaires Bruce Wayne and Tony Stark, we can debate that all day, but the American setting is getting more and more ‘wrong’ ((less accepted might be a better term), implying that darker series will be a lot better received that most American producers can fathom, I merely need to point at the success of American Gods to make that point.

So let’s see that we can all have a marvellous time between now and 2020 (when the Infinity War hype passes), because after that we still want to go to the movies, watch Blu-ray and Netflix (those who have not passed away by then that is).

Was that dark enough? Have a fun day today!

 

Leave a comment

Filed under Finance, Gaming, Media, movies, Science

As we know it

The universe has changed, it changed some time ago, yet the powers that be, be it in business, administration (read: government) or retail where all for the most are in denial. They deceive themselves through stories. One uses Tableaux to use the data to present the picture, a picture often based on incomplete or overly weighted data. The next one relies on dashboards like SAP to use spreadsheets to bedazzle the people with slice and dice numbers, looking pretty as a pie chart, yet not giving us the goods, because nowadays, these companies hire people who can sell a story, not drill deep on the results. The story is whatever the paying customer is willing to hear. They are all adopting the political need that has been in play for many years: ‘If the data does not match, change the question‘. That is the first part in a sliding scale of representation, and those representing the stories are running out of options (read: point fingers) to turn to.

The first part is seen in ‘At the time of year when queues usually form for popcorn and the money pours in, box office revenues are plunging. Where are the blockbusters?‘ (at https://www.theguardian.com/film/2017/aug/26/even-superheroes-may-not-save-hollywood-desperate-summer), here we see: “The true scale of the potential problem facing the industry can be seen in the precipitous drop in movie attendance this summer, down 52% year-on-year to 385 million at the time of writing. It is the lowest level of attendance since the summer of 1992“, in addition we get “Hollywood is stuck in a rut and it needs a safety net – superhero flicks fit that bill right now“. Two statements that might be the bill of the story, but in reality, the people are adhering to mismatched data and not properly investigated results as I see it. You see, the data is evident and it is out there, the games industry is taking 100 billion plus a year now and some of the other elements of gaming are taking a slice of that. In addition, providers like Netflix are now in much better control of their audiences that is mainly because they figured out what was wrong in the first place. You see, the gaming part is the first part of the evidence. People are now spending it on something else and they are no longer relying on the box office as Netflix gives then options. the second part is seen in the Business Insider (at http://www.businessinsider.com/us-cities-where-cost-of-living-is-rising-the-fastest-2017-6) where we see that on number 10 (New Orleans) the cost of living went up by 18%, on number one we see Nashville with a cost of living raise of nearly 30%, as we have not seen any actual economy increase from the United States, or better stated, the working people of the United States have seen almost no increase in wages and quality of life, those representing certain numbers decided to just ignore issues and evidence. Now, that top 10 list is a little skewed too, yet when we realise that for 3% of Americans their cost of living went up by 18% or more, how worried do we need to be with certain represented numbers? So consider that Los Angeles was part of that top 10, yet New York is not, there we get ‘Cost of living index in New York is 21.37% higher than in Los Angeles‘, which with close to 9 million is 2% of the US population, so now we see that the hardship and quality of life is hitting 5% of the American population and the numbers do still go up, so when we see “drop in movie attendance this summer” how can anyone be surprised? In addition, we should also realise that this gives rise to the fact that apart from people not going to the cinema, many are now spending it on something else and a $20 spend on 90 minutes is not considered when $55 gets them hours, sometimes hundreds of hours of gameplay. We are all getting more and more weary on the bang for our buck and the cinema can no longer deliver that value. No one denies that movies are just better on the big screen, but for many it is a trip only affordable a few times a year so the people are getting really picky on what they see on the big screen. Richard Cooper gives us part of the news, but also ‘forgets‘ to give the full picture. With “It is mid-budget films and their fans that have tended to suffer“, here he only gives us part of the story. As the Hollywood engine of greed and reselling remains on a steady course, we see the need for maximising results and as such the movie makers are closing the gap between cinema and digital release. Why spend on the cinema whilst within 26 weeks the movie will be out on Blu-ray? Basically it is the same price, Guardians of the Galaxy Vol. 2 is an excellent example in this case. People are becoming stingy because they have no other options. All the messages of a fake economy and how good it is might look nice on the news, but for the most, people in the US cannot afford any extras. Many in the USA need to work double jobs just to get by. The US census gives us that in 2015 13.5% of Americans were in poverty, I feel certain that this number has gone up in 2017, some sources give us that this has gone up to 14.5%, so one in seven is in poverty. Do you think that these people will be watching movies on the big screen? So the Hollywood moment of desperation is not to be resolved, not until the quality of life and cost of living for Americans is set to a much better status. Those who can might try to leech of the neighbour’s Netflix, those who cannot need to find affordable entertainment, if they get any at all.

In the second we see that this economy is also bolstering a new level of exploitation. Even as we all ignore certain elements, Uber has changed the game, with ‘Inside the gig economy: the ‘vulnerable human underbelly’ of UK’s labour market‘ (at https://www.theguardian.com/inequality/2017/aug/24/inside-gig-economy-vulnerable-human-underbelly-of-uk-labour-market) we see a new level where the people are sold a cheap story (read: Uber story) and as they are hiding behind what people should investigate, we see that desperation is exploited in other levels. It is not merely an American issue; it is becoming a global issue. With “Each passenger’s destination, however, will remain a mystery until they have been collected. And regardless of the considerable costs they might incur to fulfill that journey, the driver will have no say in the fare. Uber both sets the fare, then takes a hefty rate of commission from it“, we are shown that there is a dangerous precedent. As we see online needs explodes as people need cheaper solutions, Uber will weigh in on maximising its profit. As I see it: ‘the drivers having no other options to work to near death for scraps’. With “The driver knows that failure to accept these terms will result in an immediate loss of work: they will be blocked for a set period of time from accessing Uber’s online system that provides work” we see new levels of legalising slave labour. The ‘do it or else‘ approach is now strangling the freedom of people to death. We see evidence of my statements with “The companies themselves tend to talk about the freedom, independence, and flexibility with which self-employment is usually associated. But many of the couriers and drivers we have spoken with over the past year have had an alternative model of self-employment, and with it much financial insecurity, enforced upon them“, and the law is not offering any solution, not in the UK and not in the USA, being an entrepreneur tends to have long lasting benefits at times. They all voluntarily went into the contract and they can all walk away and starve. It is not an option for those with families to support and feed. Part of this crux is seen in “we have noted how companies are able to use the guise of self-employment to dump a whole series of obligations and liabilities onto their workforce, while depriving them of protections enjoyed by the rest of working Britain“, to be the entrepreneur comes with hidden dangers, especially when you work for other entrepreneurs. The age of exploitation is upon us and as we know it, we can no longer afford to go to the cinema, a side Mark Sweney seems to have ignored. Yes, he does give us the Netflix element and there was no way to avoid it. He does go in the wrong direction with “For film fans, theatres still have an allure for the launch of big movies, but in the new world, where all media is competing for eyeballs and time in the “leisure economy”, the Netflix threat is rising“, he is not incorrect, yet he is incomplete. He forgets that Netflix is all many can afford (and a fair amount cannot even afford that). So why go to the cinema for the next sequel? Box Office Mojo gives us part of the goods, in 2017 only 2 movies broke the 1 billion mark, Beauty and the Beast with Emma Watson (I personally do not think she was a beast in that movie) and the Fate of the Furious, which makes sense as Vin Diesel is stark raving nuts on most given days (in the fast and furious series) and who doesn’t enjoy a chase movie whilst we know that the driver is Looney Tunes. A movie with a good grasp on the desired quality of life time! So if we accept that the bulk of the Americans had to choose two movies these would be it. Yet, that number is not correct. You see Vin Diesel is attracting an audience, but 81% is not domestic, in the case of Miss Watson it is a 60% non-domestic audience. If we focus on the American market the Beauty and the beast was best, but only good for half a billion, if we focus on the domestic market, it is merely the Force Awakens that brings the goods for Americans. It makes sense with the following it has, but it is also deeply sad that decent movies are no longer bringing in the bacon. We cannot merely be blaming Netflix on this, we can surmise that the people can no longer afford the large screens in America, it is the most likely scenario, when we consider that only 3 movies got the domestic top 100 of gross revenue in 2017 and 11 in 2016, we cannot disagree with the view we get offered, but in retrospect, there is enough evidence that the US job market was worse last year. So with still 3 upcoming box office smashes, the big screen performance remains down, to what extent is harder to state, because there is enough indications that there is a lack of quality numbers, which makes my predictions not wrong, merely speculations and I accept that, yet the makers of the article and the presenters of the story of ‘Even superheroes may not be able to save Hollywood’s desperate summer‘ know that they were blaming the DC and Marvel Universe for not saving an economy that does not presently exist. The economy only exists on the Dow Jones index and that one is skewed towards the 1% of Americans that can afford a large apartment in New York and other places. What a shame that reality requires the 99% of Americans they give no consideration to. Yet it could be worse and there is every chance of that happening. As we see Mario Draghi and Janet Yellen warn against regulatory cuts, as we see “European Central Bank President Mario Draghi said protectionist policies pose a “serious risk” for growth in the global economy“, we could deduce that Draghi is soon depending on exploitation tactics to grow the economy, not only has his Quantative Easing failed, he will soon depend on legalised slave labour to get the economy the boost no one wants in such a manner. So as Draghi states: “To foster a dynamic global economy we need to resist protectionist urges“, which will not just end the filling of any quality of life if it was up to certain Uber approaches, it is also signaling the end of places like Hollywood, because they only get to exist when people can afford to go to the cinema, an display of ‘ingoranus totalicus‘ shown by these same people as they bolster the story that ignores the needs and plight of those in the lover 60% of the total income bracket in most of the modern western world.

We will see in the next 18 months what remains of the values we considered in the past. Life as we know it will change, that has always been the consideration of an evolving natural life. We merely forgot that those in charge are not in favour of change unless they could directly profit by it. I wonder if the people in Hollywood realise that part of the equation.

 

Leave a comment

Filed under Finance, Gaming, IT, Media, Politics, Science