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Return To Silent Hill Sets Franchise-Low US Opening Weekend

Return To Silent Hill Sets Franchise-Low US Opening Weekend https://ift.tt/sVXoDCc Return to Silent Hill hit the big screen on the weekend, but this adaptation of the beloved Silent Hill 2 video game isn't doing too well critically or commercially in the US. At the domestic box office, the film opened in seventh place and earned just $3.2 million, the lowest to date for the film franchise. In comparison, it's far below the $20.1 million US opening weekend of 2006's Silent Hill and the reviled Silent Hill: Revelation, which earned $8 million during its domestic opening. Opening on 2,000 screens across the US, reviews for Return to Silent Hill haven't been flattering. It currently has a Metascore of 33 on GameSpot's sister site Metacritic--based on 13 reviews--while the user score sits at a slightly higher 4.4. While some outlets consider it an average film at best, others say it doesn't do anything new or better than the original video game or its acclaimed rem...

How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later

How Borderlands Ensures Character-Driven Storytelling Remains A Focus 14 Years Later https://ift.tt/GvgXNM4

The Borderlands franchise holds a peculiar place within the history of the gaming industry, kickstarting a genre that has gone on to become a different kind of beast. After all, though the concept of combining both RPG and first-person shooter mechanics was first seen in 2007's Hellgate: London, the loot-shooter genre owes its popularity to 2009's Borderlands. And yet, today, many of the most popular loot-shooters are also live-service games (like Destiny 2 and Warframe). Borderlands is not, having never adopted that format. It instead has multiple sequels--some of which diverge from the original game and don't feature any looting or shooting.

Like these other live-service game franchises, however, character-driven storytelling has been one of the main unifying pillars of Borderlands, which has been supported by a writer's room. "Gearbox is casually unique in the sense that we maintain a writer's room," Gearbox Entertainment associate director of narrative properties April Johnson told me. "So we don't just plunk you to work on a project and say, 'Okay, enjoy the two of you doing this--we have multiple things that we are working on, so we won't Voltron up as a full unit until later.'"

Having a constant writer's room is a strategy you usually see in story-driven live-service games where maintaining a narrative vision over multiple years--over a decade in the case of some games like Destiny--is important. It's not often seen in AAA franchises that feature several sequels and recruit a new set of writers from project to project. Gearbox Entertainment is not wholly unique in this strategy within the gaming industry, but it is a rare exception and the team points to this as one of the reasons for how the studio has managed to curate a specific narrative voice across all its projects.

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