I've heard much about the great Digg migration but I found Reddit through different means.

Any of you hear of mfisn? It was my Reddit before Reddit. A bare bones link sharing community where a number of registered users could share links. Unregistered users could suggest links that I guess a registered user could approve? I remember sharing links to movie trailers there. I found Reddit years later after googling it and finding a Reddit post asking about it. And that's how I fell into Reddit.

I discovered mfisn through cookiethievery, a yourethemannowdog-esque page that had a rotation of repeating animations set to a short music loop. And I vaguely recall finding that through an AIM buddy's profile...? Either that or albinoblacksheep.

Any of you have a traceable lineage of Internet communities you've passed through? What were your pre-Reddit internet go-to sites? Are they still around?

Note: Because the post is already going to be long enough, this will only cover the movies from May to July. August still counts as the summer movie season, but there's usually not a lot of big movies released, and this August hasn't been particularly interesting so far (do we really need to wait for Blue Beetle to bomb to talk about DC?).

On paper this should have been a great summer: The last Guardians of the Galaxy movie, another installment in the highly successful Fast and Furious movies, another Disney live-action remake which have been incredibly successful, a movie featuring Michael Keaton back as Batman, Indiana Jones, and a Tom Cruise movie after his highly successful Top Gun sequel.

That was on paper.

So what actually ended up happening?

Well a lot of busts.

First let's go over the saga of Guardians of the Galaxy Vol 3. Early on it was a contender for a billion dollars this summer. Unfortunately for Disney Ant-Man and the Wasp: Quantumania came out with the absolute worst reception of any Marvel movie since Eternals (and honestly even then it was definitely worse received). The Marvel brand was now tainted, at least a little. Pre-sales (that being the sale of tickets that people buy in advance) was looking bad. At one point it looked like it might open below 100 million.

In response to this, and confident in the product they had, Disney decided to drop the review embargo earlier. Resulting in similar positive critical reception that Black Panther: Wakanda Forever received . This finally made pre-sales climb higher, and once people actually started watching the movie positive word of mouth lifted it up to 118 million for the opening weekend. Still, this was much lower than what Guardians 2 opened up to six years ago (145M). It had a similar Cinemascore (the gold standard for audience reception) as Black Panther: Wakanda Forever (A) but if we look at other factors it indeed had better word of mouth. It's because of this glowing word of mouth that it was able to leg it out 358 million. Having the best multiplier of any Marvel movie since... well the first Guardians. It also had more appeal internationally than the previous two Guardians movies (maybe due to the darker tone) and it made nearly 850 million worldwide. Which is phenomenal, especially considering it got off to a shaky start that first weekend.

I should re-iterate: Marvel movies don't perform like this anymore. They usually have big openings and weak-ish legs. Having a softer opening but longer legs is a thing of the past for these types of fan driven movies, they're usually reserved for films aimed at older audiences.

I'm gonna group the next two May releases together. Fast X and The Little Mermaid also had high expectations. Both are coming from predecessors that have made billions of dollars. And actually, both didn't perform too bad overall. Fast X didn't do well domestically (it's basically a dead franchise stateside) but did very well internationally making 700M WW, and The Little Mermaid didn't do well internationally but did pretty well domestically nearly reaching 300M DOM and 550M WW. These are respectable grosses. Just one problem: their budgets. Fast X is sporting a 340 million dollar budget, making it one of the most expensive films ever made, and The Little Mermaid is sporting a 250 million dollar budget. The break-even points for these films are 850M and 625M respectively. They did not reach them. They would have been profitable if Fast X had the same budget as F9 (225M) and The Little Mermaid had the same budget as Cinderella (95M). Those would have been the responsible budgets to make these films with, but alas shit happens. They were both shooting during the pandemic, which raised costs on productions, and Fast X had to switch directors half-way through production.. Still, money losers are money losers.

June starts off with a bang. Spider-Man: Across the Spider-Verse opens to 120 million, more than Guardians 3 and four times more than what it's predecessor opened to. With great reviews and great audience scores, it becomes the first true out and out success since Guardians 3. It also had a much lower budget than all the summer blockbusters thus far. 100-150 million, according to differing reports (we'll know by the next year when Deadline does their most profitable blockbuster list) making profitability much easier. The film basically covered it's production budget in one weekend. It legged out pretty well. Outgrossing Guardians 3 domestically (375M) but not being able to match it internationally making nearly 700 million WW. While it did "fail" to meet the high expectations of 400M DOM, it's still massively successful. And will remain in the top 5 grossing films domestically.

The rest of June is a different story. First up we got Transformers: Rise of the Beasts, which was, at one point, one of the biggest movie franchises around resulting in two billion dollar films. While it beat expectations opening weekend, opening to 61M, it did not leg it out very well. 155M DOM and 420M WW is not a great number, especially not compared to it's 200M budget. It made less than Bumblebee despite having twice the budget. It's basically a dead franchise at this point, and it was not the win Paramount needed after Dungeons and Dragons also flopped.

Then we get a double whammy. The Flash and Elemental open the same weekend. At one point The Flash was projected to open well above 100 million just for the weekend, but pre-sales told another story. Pre-sale trackers on the forum BoxOfficeTheory, saw what industry tracking couldn't: a lack of interest. The sales just weren't there. DC as a franchise is already on the decline. This was a movie about a minor character that debuted in Justice League (which also bombed heavily), with a controversial lead star, and just unappealing trailers, who would be interested? Michael Keaton fans, supposedly. That was what people were clinging onto. The older Keaton fans would come out and help the movie. Apparently there aren't any. Doesn't help that Keaton had his last Batman outing over thirty years ago, meaning no one below the age of 40 even really cares about him as Batman. It opened disastrously to 55 million. dropping throughout the weekend from toxic word of mouth. It didn't even manage to hit the lower end of those initial projections throughout it's entire run. WB dumped so much money into this, just for it to be the biggest bomb in their studio history.

Elemental, on the other hand, ended up fairing a little bit better. Not on opening weekend. God no. It opened to 29M, one of the lowest openings in Pixar's history. But, it was really well received by audiences. And people kept watching it week after week, resulting in some of the best legs Pixar has had in a while. Reaching over 150M DOM, and over 400M (and counting) WW. If it reaches 500M WW, which it still looks like it might, it would break even theatrically. That's not great, as studios would love to make money theatrically, but considering this could have been a massive money loser for Disney, it's quite an impressive run. Thanks to Disney's re-commitment to theatrical, their animation studios are slowly building themselves back up in the eyes of audiences.

To end the month came Indiana Jones and the Dial of Destiny. Supposedly the Top Gun: Maverick of 2023, at least that's what some people had pegged it as at the beginning of the year. Once again, it didn't work out that way. It premiered at Cannes to mixed reviews, and while the funko pop critics were able to get it to fresh on RottenTomatoes, the damage was done. Indiana Jones spent months with a rotten symbol. Even before that, trailer views were weak, the interest just wasn't there. Why? I think perhaps Crystal Skull was supposed to be the last outing for the character (which actually ended up being the second highest grossing film of 2008 and even outgrossed The Dark Knight internationally), and even before that The Last Crusade was supposed to be the last outing of this character. And now we're getting another last outing for the character. Except now he's 80. A fantasy wish-fulfillment character being 80 is probably not a great thing. It's also another situation where no one below 40 really cares about Indiana Jones (me excluded but I don't share the viewing habits of other people my age). So... it was over before it even started. It opened okay all things considering, 60M isn't bad. But it had mediocre drops week to week, no doubt due to mediocre word of mouth. And again, the budget was out of control. Initially reported to be 290M, the actual budget ended up being 320M. It didn't even get close to 400M WW. Making it one of the biggest bombs of all time, and certainly the biggest bomb of the year. This is probably the last straw for Lucasfilm. I can't imagine Disney letting them continue doing things this way.

Next one comes a sad one for me personally, Mission Impossible: Dead Reckoning - Part One the first big movie of July. They decided to release it over a 5-day weekend. And, more importantly, decided to open the weekend before Barbenheimer. Unfortunately, that meant that no one was paying attention to Tom Cruise's latest critically acclaimed action film. It opened below 80 million for the 5-day weekend, below Indiana Jones even. It's only hope was to leg it out well. But again, two big movies would come out a week later. Mission Impossible was yet another victim of Paramount's idiotic release date decisions. Dungeons and Dragons opened a week before Mario, despite positive reviews and audience reception that ended up dropping like a rock too. If Paramount had picked more empty dates both of these movies would have done better. MI is the only blockbuster this summer to be extremely well reviewed, to get positive audience reception (same scores as Fallout) yet not be a success at the box office. The budget didn't help, 290M, it was one of the first productions to restart during the pandemic that's where this audio of Cruise yelling at crew members breaking protocols comes from. They actually set the standard for productions during the pandemic. But, money losers are money losers, and Paramount has been bleeding a lot of money.

One of the more interesting success stories so far this year is Sound of Freedom. Originally produced in 2018, 20th Century Fox held the distribution rights. When Disney bought Fox they shelved the movie. Angel Studios then got the rights to the film. They opened it on the Fourth of July weekend (America!) to rave audience reactions. It opened modestly, to 19 million, but has legged out spectacularly. Outgrossing summer blockbusters like Transformers: Rise of the Beasts and Indiana Jones and the Dial of Destiny. Domestically anyway. It was powered by conservative influencers and the often reliable christian market. It's been debated if this should count. As they had a pay it forward service, meaning people would buy tickets for others to use for free. There were several reports of sold out screenings playing to a largely empty room. Whatever it is. It's money for movie theaters. And it's clearly playing well to an underserved market.

Now we get to the big one: Barbie and Oppenheimer. For over a year these two have been building up hype. Christopher Nolan, who usually has his films distributed by Warner Bros., was incredibly unhappy with how they sacrificed his film Tenet during the 2020 pandemic and even was even less happy when WB announced that their entire 2021 slate would be day and date on HBOMAX. He then takes his next project to Universal, after they agreed to a laundry list of demands. They pick the date July 21st, because that's the date Nolan likes and is "reserved" for him. Warner Bros originally had Coyote vs Acme there, a live-action Looney Tunes film with John Cena. However, they remove Coyote vs Acme from the schedule (it still has no release date) and instead put Barbie there. It originally started off as a "battle." Who would win, who would flop? But as we got closer, it became something else. The stark contrast between the two films, while both being from filmmakers who are lauded by younger people online, led to the creation of Barbenheimer. It wasn't "which one will win" it was "we're excited for both." It also wasn't, as some people think, manufactured by Universal and Warner Bros (why on earth would competing studios work together) it was organic. If it wasn't organic it wouldn't have worked. Barbie opened to over 160M and Oppenheimer to over 80M.

What makes their successes so great for the industry, is that they're in genres that have not been doing well post-pandemic. Even pre-pandemic comedies like Barbie were struggling. The last big comedy to hit 200M DOM was Ted back in 2012. Barbie easily blew past that. It's also a female oriented film in a time where women have been one of the slowest demographics to return to theaters. Adult dramas were also on lifeline. Elvis had been the highest grossing one post-pandemic, but pre-pandemic we would get multiple hits. In 2019: 1917, Little Women, Ford vs Ferrari, and Once Upon a Time in Hollywood all grossed over 100M DOM. In the two years since the pandemic only Elvis managed to hit that mark. But now Oppenheimer, something that on paper is tailor made for the end of the year Oscar season, opens like a blockbuster in the summer. It's the first drama to make over 200M DOM since Joker, and first non-franchise drama to make that much since Bohemian Rhapsody and A Star is Born crossed that threshold back in 2018.

Maybe it's a fluke, maybe it was just because it was these films specifically. But it's hard not to feel optimistic that this will translate to other dramas like Killers of the Flower Moon and Napoleon, and other female-oriented films like Wonka.

Smaller successes and optimism for the future of theatrical:

I covered the big movies. But what about the rest of the slate? Movie theaters can't just survive on 20 or so big movies a year. They need the smaller films to still deliver some money. These past two years, the box office has been incredibly top heavy. We either got films that only made a ton of money or we got movies that made no money.

Let me give you an example of the struggle of this specific market. The Peanut Butter Falcon was the 100th grossing film domestically of 2019. It grossed 20 million. In 2021 it was The Father with 2.1 million, in 2022 it was Cyrano with 3.8 million. You can see the toll the pandemic took here. But you can also see slight recovery.

I believe 2023 is the year we see substantial recovery in his part of the market. Smaller, non-franchise, and art-house films have been making more money than they have been in the past two years.

Let's look at some examples:

Asteroid City has the highest opening PTA (per-theater-average) of any film since the pandemic. Over 100k PTA something that used to be more common before the pandemic. And, once it goes wide, grosses 27 million domestic. Compare that to Wes Anderson's previous film which grossed 16 million domestic.

Past Lives also opens to a healthy PTA of 58k. That's higher than TAR and The Banshees of Inisherin. And that's without any star power and without having a well known Director. It has Oscar buzz, to be fair, but so did the other two and it still managed to outgross both of them when it went wide. So these types of awards films are already doing better than they were even six months prior.

No Hard Feelings not so much a small film, it's not an art-house film, and it's not an awards contender. It's a mid-budget comedy that relied solely on star power as a selling point. It's exactly the type of movie that failed countless times in 2021 and 2022. Yet, it outgrossed star-studded R-rated comedies from last year such as Amsterdam, The Menu, and Babylon pretty easily. Making 50 million domestic. It, perhaps, did not turn a profit theatrically, but it at least made some of its money back. Even a year ago, the thought of this type of movie making anything more than it did would have been unfathomable. Even Ticket to Paradise, which did make more than No Hard Feelings especially internationally, was PG-13 and had two old school stars headlining it instead of one young one.

I think these three movies really do show how much the market continues to improve, even as we faced massive bombs. When something as benign as Theater Camp can open with a PTA on par with Banshees of Inisherin, we're definitely heading in the right direction.

This was quite the summer for Hollywood. With so many high profile bombs, and two surprise hits, this already feels like a transformational year for the industry. Trends are changing. Franchises from the 2010s (mostly from Disney) are no longer the guaranteed money makers they were. The unions are on strike. Studios are looking to cut costs. It's a whirlwind.

Since there are topics about cult classics and movies that everyone loves, I figured I'd make another thread about movies that you love that everyone else hates!

I've got to start with Jupiter Ascending. A lot of you know that I'm an unabashed fan of the Wachowskis, and this is almost universally recognized as their worst movie. It's pretty easy to see why; it's a confused mess. But even so, you can see the vision behind it. The story goes that they wanted this to be a three-film series much like they did with the Matrix sequels, but at one point the studio decided that they just wanted to make one film, so we got a very long hyper-compressed version where things weren't allowed to make much sense. The visuals are fantastic as you would expect from a Wachowski film, but the real diamond in the rough here is Eddie Redmayne's performance.

Branded is an almost objectively terrible movie. It's a fairly well put-together movie, but the idea behind it was bad. To make matters worse, the company that promoted it released trailers that basically just lied about what it was about, basically just scamming the audience into thinking it was a much more interesting movie. The IMDB page still has a fairly misleading description to this day. Thankfully I went into it blind, and I actually enjoyed it. The message was good, even if the storytelling wasn't, and it had a surprisingly excellent soundtrack.

What recent announcements caught your interest? Video games or board games, indie or AAA, new release or expansion, fangames or mods, all are welcome!

Please also include a link to the trailer or blog post, press release, steam page, etc. so others can check them out as well.

For me, it's the intro cinematic to Final Fantasy XIV: A Realm Reborn. I never played the defunct 1.0 version of FFXIV, whose final moments are what this cinematic shows if you aren't aware, but there is something about seeing all the bloodshed and destruction while Answers plays in the background that makes an incredibly strong melancholy mood in the trailer and really sells the feeling of this being an end of an era for Final Fantasy XIV, both in-game and in real life. I have to imagine that it's only more poignant if you were one of the people there for the end of 1.0.

Well, a few minutes ago I finally pushed the button, the game is released. So I wanted to write a short write up of some things that I had to do to release the game. I won't really talk about making the game itself too much, more about the part of actually releasing the game, if you are interested in more of that you can see my posts from Timasomo (1, 2, 3, 4, showcase).

Steam

I have already created many games in the past, I've been making games for more than 5 years, but always as a hobbyist. So I never experienced releasing a game on a platform like Steam. I have to say working with Steam and Steamworks is very pleasant and streamlined, but it is still much more complex than for example releasing a game on itch.io, which is what I did before for all my other games. I'll try to summarize how the process looks like.

First, before you can even get on Steam, you have to register, fill out a ton of paperwork, wait some time for it to be manually approved. Afterwards, you have to pay the 100 dollars for Steam Direct. At this point you finally get a Steam app id, which you can use to start integrating Steam features into your game. For example, having achievements, Steam cloud integration (so the saves get synced between devices), leaderboards and potentially more, especially if you are making a multiplayer game. To make my game I am using Godot, and I found a C# library called Facepunch.Steamworks which made this all quite easy, I'd definitely recommend it if you are using Unity or Godot with C# and want to release your game on Steam.

Before releasing a game on Steam you also have to finish everything on a gigantic checklist, including things like: uploading 10 various header, capsule and other images which are used on the store page and Steam library. An icon for the game. What are the minimum requirements required to run the game, whether the game has adult content, whether it supports controllers, how much the game will cost, screenshots, a trailer, there are just so many things to do! And when you complete parts of this checklist you have to have your game go through manual reviews. Each review could take about 3 days to get done. I failed one review first so I had to resubmit it too and wait again. Let me tell you, if you plan to release a game on Steam, reserve at least a month to do it, and start going through the reviews as soon as possible -- actually I think there even is a minimum of a month before you can release the game from the day you get an app id.

Trailer

Creating a good trailer is super hard. I am not a video creator/editor at all, but luckily I at least own a solid program for creating videos -- Vegas 14 pro, that I got for super cheap in some Humble bundle about 8 or something years ago, so I at least had a good start there. I ended up with not that complex of a project and Vegas still kept crashing when rendering, so I am not sure if I'd recommend it though.

The hardest thing for a trailer is deciding what to put in it for me. I know that a trailer should be super short, should showcase how the gameplay looks, what are the features and so on, but when I got to actually making it, it was still super hard to decide what to put there. How do I even start? I watched a ton of other indie game trailers to get some inspiration and that also didn't help that much. There are some trailers which are really just gameplay, some trailers which are actually just incredible with editing I could never do as a pleb... So I started with something that I know a bit more. I created a very short music track, and decided that I will just edit the trailer to fit the music.

The music track basically splits the trailer into 4/5 very short sections:

• Basic gameplay, how the game looks when you start playing it
• Explaining the roguelite part of the game, selecting spells and items
• More complex gameplay, how some combinations of spells and items can look later in a run
• List of features
• Special bonus ending section showing a "Legendary" spell, which should show how insane spells can get, followed by the logo of the game

I think the trailer ended up being not too bad, but I still had some feedback that it isn't flashy enough. And it's true, but I am not really sure how to improve it easily. When watching the Vampire Survivors trailer for example I can see that they did a much better job: it's so much more dynamic, the music really pumps you up, it's overall better edited, it has cool transitions, camera movement and so on.

End

Releasing a game on Steam was a great experience. I learned so much! I basically made this game over weekends and evenings, since I also have a job. To try maintain my productivity I tried to do at least some work on the game every single day. I have to say that towards the end I started losing some steam (haha), some days scrambling to do at least something late in the evening before I went to sleep. But, if at least someone plays the game I think I want to keep updating it more, I still do really like the game!

Thanks for reading! Feel free to ask me anything about the game, or the game dev process, or about anything basically haha.

Here's the Steam store page, the game costs 5 dollars, I'd love it if you checked it out. If you want to play the game but can't afford it PM me and I'll send you a key for the game (at least once I get the keys I requested -- did you know that Steam has to approve the creation of keys manually? Edit: the keys are now ready)
https://store.steampowered.com/app/2682910/The_Spellswapper/

The one-off series 'Good Omens' from 2019 is getting a follow-up!

Here's the trailer for Season 2, which is being released on Amazon Prime later this month.

I only know this as a one-off novel, and a series based on that novel. I didn't expect any form of follow-up.

However, Neil Gaiman, who is listed as an executive producer and the show-runner for this new season, has supposedly said in the past that he and Terry Pratchett discussed a possible sequel to the novel (although Pratchett gave up on the idea when Gaiman moved to the USA). Maybe Gaiman is going to use ideas from that unwritten sequel for this second series.

I love keeping up with industry announcements and new trailers, but a lot of game news websites are too full of fluff. Is there a good videogame news aggregator or a journalism site that you like? I used to like IGN and Kotaku but I find their content more useless than not.

Developer:

• Team Reptile (Megabyte Punch, Lethal League, Lethal League Blaze)

Platforms:

• Steam, GOG, Nintendo Switch (August 18)
• PlayStation 5, Xbox Series X, Xbox One (September 1)

Trailers:

• Official Release Trailer
• Official Special Trailer

Reviews:

• OpenCritic page

Description:

Team Reptile brings you Bomb Rush Cyberfunk, a future world from the mind of Dion Koster where self-styled graffiti crews equipped with personal boostpacks are battling each other for control of the streets. Start your own cypher and dance, paint graffiti, collect beats, combo your tricks and face off with the cops to stake your claim to the sprawling metropolis of New Amsterdam.

(What the official description won’t say is that this game is an unofficial love letter to Jet Set Radio on the Dreamcast and Jet Set Radio Future on the Xbox. Hideki Naganuma even contributed new songs to the soundtrack.)

How do people here keep up with upcoming niche games? Most of the blogs I've followed for this have been abandoned over time and I'm looking for new one(s). Ideally, I'm looking for something that:

• Supports RSS
• Highlights trailers or other creator-made pages showing off lesser-known games
• Focuses on the "hobby itch.io experiment" to "Annapurna / Devolver-published" segment of the Lo-Fi to AAA spectrum (nothing more AAA than that)
• Posts occasional reviews/interviews with games/creators (optionally)
• Has no/little focus on industry-insider news

I'm obviously biased towards "small-web" blogs or forums, but I'd love to hear about however you stay up to date with cool things creators are making!

I am always looking for quality RSS feeds to add to my reader but they seem to be getting harder and harder to find. I've been looking for a good one for movie trailers for a long time. Apple has one but the trailers are published sporadically. I'm especially interested in any full-article feeds.

I've been following GRRM's Not A Blog and XKCD's webcomics via RSS. My favorite though is a very niche webcomic about older gamers sitting around playing a RPG:

http://www.kodtweb.com/feed/