Wednesday, April 14, 2021

Jordan Vogt-Roberts to Helm Netflix’s Live-Action Gundam Movie

(Photo Credit: Alberto E. Rodriguez/Getty Images)Jordan Vogt-Roberts to helm Netflix’s live-action Gundam movieIt has been four years since the successful release of Kong: Skull Island, and now director Jordan Vogt-Roberts has finally found his next big project with Legendary. Vogt-Roberts has officially signed on to direct the studio’s first-ever live-action feature film version of Gundam for Netflix, which will be based on the universe of Sunrise’s iconic Japanese robot franchise.This marks Legendary and Netflix’s latest collaboration together, the two companies previously worked on films such as 2016’s Spectral and last year’s Enola Holmes as well as shows like Lost in Space and Pacific Rim: The Black. They are also currently working on the anime series adaptation of Skull Island and Tom Raider.RELATED: Netflix’s Live-Action Cowboy Bebop Series Wraps Production!Plot details for the Netflix film are being kept under wraps but the original Gundam series is set in the Universal Century, an era in which humanity’s growing population has led people to emigrate to space colonies. Eventually, the people living in the colonies seek their autonomy and launch a war of independence against the people living on Earth. Through the tragedies and discord arising from this human conflict, not only the maturation of the main character but also the intentions of enemies and the surrounding people are sensitively depicted. The battles in the story, in which the characters pilot robots known as mobile suits, are wildly popular. The Gundam universe is replete with numerous storylines of love and conflict along with the popular Gundam battles, in which the characters operate robot suits called Mobile Suits.The live-action Gundam film will be penned by Brian K Vaughan. It will be produced by Vogt-Roberts with Vaughan set as executive producer. Legendary’s Cale Boyter will oversee the project along with the Sunrise creative team. The project was actually first announced in 2018 at the Anime Expo.RELATED: Sony & Netflix Ink First-Pay Streaming Licensing DealCreated by Hajime Yatate and Yoshiyuki Tomino, the franchise first started in 1979 with the TV series titled Mobile Suit Gundam. The massively popular Mecha anime and science fiction media franchise is Sunrise’s multi-billion-dollar property that has spawned a multi-platform universe encompassing televised anime, manga, animated films, video games, plastic models, toys, and novels among other media. Gundam continues to dominate Bandai Namco’s earnings almost forty years after its inception.
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    How Projection: First Light went from game jam prototype to PS4 release

    My name is Michael Chu and this is my story of how the game grew from a jam. Projection was created from the result of rapidly prototyping many games. For anyone looking to get into game development, one of the best learning grounds is a Game Jam, where you make a game within 48 hours. You learn a lot from making a product in a condensed amount of time: prioritising work, having a clear vision of the end product, time management, building proper eating/sleeping habits under stress, and most importantly what you’re capable of in such a small time frame. For myself, I attended several game jams and teamed up with others as an animator, but really I wanted to make my own games. So I learned programming at TAFE, and in 2014 I made my first game jam game by myself. It was such a surprise to have the knowledge that I could finish a game in such a short amount of time. So that year, I decided to challenge myself to make a game every week for a full year. Every weekend I would work on a new idea, practice my skills/experience, build up a portfolio, and upload a game every Monday. My rule was that each week I would try something new, whether it be a new experience, mechanic, or programming technique, and then write a short blog post about it after. Writing a reflection in a blog style not only helped provide a summary of the game for that week, it also built up my thoughts on good game design e.g. what works, what didn’t, and what I should do to improve the game. I ended up making a little less than 60 games that year. The idea was that, as a game designer, you’re going to have lots of ideas. Most of the ideas will be meh or downright bad, but there will be a couple of good or even great ones that stand out. Only after making several bad ideas will you eventually get to the good ones, and those are the few you can keep and turn into something special. Projection was the first game on that list for me, as it brought together a unique set of things many people hadn’t seen before, like adding shadows as physical objects and the theme of shadow puppetry. When I put forth the idea at my local International Game Developer Association everyone in the room got excited when they learned what it was about. It was a wonderful feeling. Players were having fun with the prototype and people from everywhere wanted to help me work on the game. Thus, of the weekly prototypes I had made, Projection was the one I decided to devote my full attention to. Originally, I was just getting development help from two friends: Yosha and Jared. However, I felt limited in what I was capable of programming-wise. Furthermore, I was receiving advice that I should look for a publisher to help put the game out on the market. This is where Sweaty Chair stepped in. They were enthusiastic about the idea and showed what they could bring to the table. So we decided to outsource all the programming to them and rebuild the game using a different engine. While Projection was being built, there were also talks of how to put the game on the market, most notably the platforms. Sweaty Chair, at the time, were primarily mobile app developers. However, we wanted the game to appear on consoles. This is where Blowfish Studios stepped in. They were local publishers who had developed their own games for console as well and were also keen for the project. They also had a lot of experience with porting to consoles, event setup, handling PR/marketing, and finding business deals so we could focus on development. Once all three companies got together, it was simply a matter of finishing the game. As it turns out, being my first game, I was terrible at estimating just how long making it would take. It’s a completely different ballpark to spending a weekend during a game jam. On top of that, Yosha and I had our own full-time commitments with University and work. Many parts of the project changed as a result. It was quite a scary prospect. You don’t want to drag on development time for too long as expenses keep piling up. If you’re not already well established, you then face the prospect that if the project fails, you will be in financial strife afterwards. It’s not a comfortable position to be in when your future prospects become dependent on the success of the next project. Nevertheless, talk with most small-time game developers and you will find the desire to make a game comes from the sheer passion of the craft. It can almost be an obsession. It’s something I felt all my colleagues who worked on Projection had, and for that I’m grateful. They were all there to pitch in and help me finish the game to make it what it is today. So thank you Blowfish, Sweaty Chair, and my team of music, sound, art, and design peeps…. And thank you reader for getting this far. Play Video

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