Developer Larian Studios is holding another Panel from Hell livestream for Baldur’s Gate 3. It’s sure to be full of pretty big announcements–for context, last year’s Panel from Hell livestream revealed the date for when Baldur’s Gate 3 would launch in early access.
The livestream is scheduled to begin on February 17 at 10 AM PT / 1 PM ET. You can watch the livestream via the video embedded below.
On the Baldur’s Gate 3 website, Larian Studios writes that this livestream will “divulge all the secrets in [the game’s] biggest patch yet.” The patch in question is Patch 4, scheduled to go live in Baldur’s Gate 3 sometime this year.
In GameSpot’s Baldur’s Gate 3 early access review, David Wildgoose writes, “To some extent, it is fascinating to play Baldur’s Gate 3 today with the knowledge you will be able to follow its progress over the coming months–and possibly years–with a kind of academic interest in how AAA RPGs are built. You’ll be able to witness first-hand how rough cuts are beaten into shape and finally polished. And for some small section of the audience, that alone will be worth the price of admission. For the rest of us, however, there’s no rush. Baldur’s Gate 3 isn’t done yet. It’s okay to wait until it is.”
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There’s a quote from author Douglas Adams about how we adapt easily to new things in our younger years, but how “anything invented after you’re thirty-five is against the natural order of things.” It’s easy to look at tweets and essays from Hollywood’s old guard as little more than old men screaming at clouds shaped Netflix and Disney+ logos when they talk about the way streaming services and comic book movies are changing filmmaking, but a new essay from Martin Scorsese has a lot more to say than the idea that new things are bad.
In a new essay in the March 2021 edition of Harper’s Magazine, Scorsese looks at the lifetime and impact of Italian director Federico Fellini, which is interesting in its own right, but he bookends it with thoughts on the current state of cinema that both lament the passing of the old age but accept the reality of the current world.
“As recently as fifteen years ago, the term ‘content’ was heard only when people were discussing cinema on a serious level, and it was contrasted with and measured against ‘form,'” Scorsese writes. “Gradually, it was used more and more by the people who took over media companies, most of whom knew nothing about the history of the art form.”
“‘Content’ became a business term for all moving images,” he continues, correctly assessing that it encompasses everything from cat videos to television episodes to superhero sequels. The term as its used today, Scorsese says, “was linked, of course, not to the theatrical experience, but to home viewing, and on the streaming platforms that have come to overtake the moviegoing experience.”
Scorsese acknowledges that streaming platforms have been good for directors like him in their own way–Netflix produced Scorsese’s The Irishman and Pretend It’s a City, while Apple TV will get Killers of the Flower Moon–but says that streaming platforms present all content on a level playing field, which he says “sounds democratic, but isn’t.”
“If further viewing is ‘suggested’ by algorithms based on what you’ve already seen and the suggestions are based only on subject matter or genre then what does that do to the art of cinema?” he asks.
Often when directors talk about modern moviemaking, they take aim at things like superhero movies (as Scorsese himself has previously done) as a cancer that needs to be excised from cinema, but Scorsese doesn’t have anything bad to say about the movies themselves, the viewing experience (we’re looking at you, Christopher Nolan), or even streaming as a delivery medium. Instead, Scorsese’s pain point is the way streaming platforms are engineered. He differentiates services like Criterion Channel and MUBI because these services are curated rather than engineered.
Scorsese argues that curating movies isn’t undemocratic or elitist, but human; it’s someone putting a list together and sharing it, rather than a machine trying to assess what art you might like based on math.
“Algorithms, by definition, are based on calculations that treat the viewer as a consumer and nothing else,” he argues. This leads into his discussion of Fellini’s work and the way it was discussed and shared.
Toward the end of the piece, Scorsese comes back around to how Fellini, and the age of cinema he was a part of, and the current age of streaming piece together. He acknowledges that it’s only natural for people to focus on modern creations and that older artists would “eventually recede into the shadows with the passing of time,” but suggests that curation of film shouldn’t be left up to the people who stand to make money off of it.
“We can’t depend on the movie business, such as it is, to take care of cinema,” he writes. “In the movie business, which is now the mass visual entertainment business, the emphasis is always on the word ‘business,’ and value is always determined by the amount of money to be made from any given property—in that sense, everything from Sunrise to La Strada to 2001 is now pretty much wrung dry and ready for the ‘Art Film’ swim lane on a streaming platform. Those of us who know the cinema and its history have to share our love and our knowledge with as many people as possible. And we have to make it crystal clear to the current legal owners of these films that they amount to much, much more than mere property to be exploited and then locked away. They are among the greatest treasures of our culture, and they must be treated accordingly.”
All of this is, of course, reframed thanks to the pandemic. For the last year, American moviegoers have been unable to take movies in through theaters, removing the communal experience from moviewatching almost entirely, save for people diving into late-night Netflix watch parties and the like. The future of theaters is even more questionable, and we’ll be that much more dependent on viewing algorithms, which are built for the profit of the service, not the engagement of the viewer.
Image credit: Getty Images/Jon Kopaloff/Stringer
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Blizzard is preparing to unveil what’s coming next to Hearthstone at its BlizzConline event. This year promises to be bigger than most, as the company will not only be debuting its new expansion and annual changeover, it will also be making some big changes to how the card pool in Hearthstone works.
We haven’t gotten much information about the next expansion for Hearthstone, but Blizzard has started to issue teasers for whatever it is coming next. A short teaser-trailer titled “Quill You Be Ready” shows a lone adventurer in the middle of a dry landscape, who is then surrounded by the Horde logo.
Those clues have led many in the fan community to conclude that the next expansion will take place in the Barrens, a savannah-like setting in Kalimdor, under the control of the horde. The “Quill” in the title appears to be a clue as well, as the primitive Quillboar race is from the Barrens.
New Year, New Season
As usual, the spring expansion to Hearthstone will mark the changeover into a new year of content. For example, the current year is called the Year of the Phoenix, the umbrella term given for the three expansions that appeared throughout the 2020-2021 content calendar–Ashes of Outland, Scholomance Academy, and Madness at the Darkmoon Faire.
Each year of Hearthstone content includes three major expansions, alongside any bonus updates like the addition of the new Duels mode with Darkmoon Faire. The annual cutoff also rotates out certain sets into the Wild format, making room for new expansions that will be playable in Standard mode. Blizzard has suggested that its expansion plans from now on will also include mini-expansions mid-season, so we can likely expect three of those as well.
But this year will be even more of a radical change because, as already announced, Blizzard will be retiring the Classic and Basic sets into Wild in favor of a new approach: the Core Set.
The Core Set
As long as Hearthstone has existed, the main building blocks have been the Classic and Basic sets. The Basic set was a free, earned set in Hearthstone that you would unlock by leveling up each class, while the Classic set gave eager card collectors something to hunt when cracking open Classic packs. These are the cards that defined class identity and mechanics, and for the entire history of the game, Blizzard has built expansions around these features.
That will change this year. Instead of static Basic and Classic sets that never change, Blizzard is introducing the new Core set. This will incorporate hand-picked cards from the Basic and Classic sets and bring back some from Wild, and even introduce a bundle of new cards. Unlike the Basic and Classic sets, the Core set will change every year, allowing Blizzard more flexibility in rebuilding the foundation of Hearthstone for new expansions, providing a more dynamic experience. So this first set will be Core 2021, to be followed by Core 2022, and so on.
Also, unlike the Classic set, the Core set will be absolutely free, just like Basic. All of the cards in the Core set will be granted automatically if you’ve leveled up your characters the requisite amount, and each year when the Core set rotates, you’ll automatically be granted all of the new Core cards. That should make it easier for new and lapsed players to jump aboard.
Basic and Classic cards will be merged into a single “Legacy Set.” But we don’t know much about what cards will be included in Core 2021. We know it will consist of several Demon Hunter cards, as that class was added post-release, and the Priest card Shadowform will be returning from the Hall of Fame. Other than that, Blizzard has not revealed what’s included in the set of Core 2021 cards. The company plans to tell us more about the Core set at BlizzConline.
Classic Mode
One other big change coming to the game, though, has already been announced. Hearthstone is adding a Classic Mode. This will let you play the game with the original bundle of cards, exactly as they appeared in 2014, before any balance changes. Many of the cards from this era have significantly changed since their debut, so this mode will be a welcome nostalgia trip. It also sports its own ladder and matchmaking pool, so you can compete, unlock achievements, and even reach Legend rank completely in Classic Mode if it strikes your fancy.
Classic Mode should offer a nostalgic experience for longtime players.
A New Tavern Pass
The new season will also bring a new Tavern Pass. The battle pass-like system grants experience for unlocking achievements and completing daily, weekly, and occasional event-based quests. Those experience points then go toward unlocking rewards like gold, card packs, alternate hero portraits, and even a special seasonal version of The Coin. And like every battle pass, you can unlock certain rewards only by buying into the pass.
The system was surprisingly controversial when it debuted last year because fans calculated that it was actually granting less gold than the previous quest-based reward system. Blizzard explained that it had planned to offer XP boosts through special events that would make it grant more rewards. But based on feedback from fans, the company concluded that it should rebalance its rewards track to be more generous without the need to take part in special events.
For the next Tavern Pass, we can likely expect Blizzard to maintain something similar to the rewards track changes it already made, with a more generous structure. It’s also probable that the new Tavern Pass will offer a new set of cosmetic rewards or another seasonal Coin. For example, reaching the end of the previous Tavern Rewards track allowed you to select one of 10 exclusive hero portraits. It’s possible Blizzard will just bring back the same selection, letting you pick another from the pool across multiple seasons until you collect all 10.
Release Timing
The release timing for the new Hearthstone expansion is unknown, but we can make an educated guess. Blizzard has tended toward short announcement-to-release cycles recently, usually no more than a month. That would make a release for the next expansion likely to come in March.
For the last six years straight, the first expansion of the year was released in April. However, the Year of the Phoenix winter expansion came in November, rather than December as previous expansions usually had, so it’s possible that Blizzard is intentionally shifting plans to adjust the timing for new expansions to come earlier in the year. A March release would also mean that Darkmoon Races, the mini-set released in January, would have come midway through the expansion season between November and March.
Often when Blizzard unveils a new year, though, it’s much more than just the upcoming expansion. It has often dropped clues for the full year of expansions, and last year, it even included an expansive content roadmap that teased additions like the new Duels mode. So we may get much more detail to come at BlizzConline.
Bravery Network Online has been released on Steam Early Access. Buy the game by February 23 and you’ll save 10 percent–knocking the price down from $25 USD to $22.49 USD.
This stylish turn-based battle RPG sees you recruit fighters, forming a team to face off against opponents. The game includes traditional battle moves like kicks and punches, but it has its own unique flavor with its more unorthodox moves. For example, you can try to get your foe to forfeit by hurting their feelings or get them flustered by flirting with them.
Hey, I mean, whatever works right?
Gallery
For those looking to just battle it out against computer-controlled opponents, Bravery Network Online features several single-player stories that explore the post-post-apocalyptic world. But if you’re brave enough, Bravery Network Online has an online mode too, complete with a rankings system.
Granted, if you try to go online right now, you may encounter a few issues. With the game now out, Bravery Network Online’s server is being hit hard. “We’re aware the server has been having hiccups due to the increased number of players,” the game’s twitter account said. “We apologize and will be working to increase the stability of the game tons over the coming weeks!”
Gaming on mobile devices like smartphones and tablets has gotten a lot better in recent years, thanks to innovations like Apple’s Arcade subscription service and Xbox’s Project xCloud. If you’re a fan of mobile gaming, then you’ll be happy to hear that one of the best mobile controllers is down to its lowest price yet. The Android version of the Razer Kishi is currently $66 at Amazon. Prices on Amazon fluctuate regularly, so it’s unclear how long the Kishi will stick to this price.
The Razer Kishi interfaces with your Android phone via USB-C: all you need to do is slide a compatible USB-C phone into the controller and make sure it’s connected securely. This connection ensures there’s no latency tied to your inputs, giving you the edge needed in games like Call of Duty Mobile and Fortnite as well as the vast number of console games on Project xCloud, which comes with Game Pass Ultimate
While the USB-C port is occupied while using the controller with your phone, the Kishi features a USB-C port of its own that supports passthrough charging of your phone. Most Android phones can fit into the Kishi as well, making it a versatile device that can provide almost any phone with console-style controls for on-the-go gaming.
The Android version of the Razer Kishi is the only model discounted to $66 at the moment, but if you have an iPhone, you can snag that version of the Razer Kishi for under $100 from a number of reputable third-party sellers with Prime shipping.
There are a bunch of different mobile controllers available, and if you’re interested in looking at some of those options, check out our guide to the best mobile gaming controllers available right now.
Bridgerton’s very own Duke of Hastings AKA Simon Basset AKA actor Rege-Jean Page has officially joined the cast of Paramount’s upcoming Dungeons & Dragons film, THR reports.
LONDON, ENGLAND – JANUARY 22: Regé-Jean Page attends the Vanity Fair EE Rising Star BAFTAs Pre Party at The Standard on January 22, 2020 in London, England. (Photo by Mike Marsland/WireImage)
Page is joining Chris Pine (Star Trek, Wonder Woman), Michelle Rodriguez (Fast and the Furious), and Justice Smith (Detective Pikachu) in the film, which is being directed by Spider-Man: Homecoming’s Jonathan Goldstein and John Francis Daley.
Page, who has previously starred in Mortal Engines and ABC’s For the People, rose to greater stardom as a result of his role in Bridgerton, Netflix’s Regency era debutante drama. In IGN’s review, we gave Bridgerton a nine out of 10, calling the chemistry between Page’s mysterious and conflicted Basset and Phoebe Dynevor’s Daphne Bridgerton “impeccable.” The series was watched by 82 million viewers in its first month, according to Netflix.
Plot details for Dungeons & Dragons are under tight wraps, so it remains to be seen who Page will be playing, and whether the plot will keep things strictly fantasy or marry that with real-world tabletop play.
The XAGs, which were launched in January 2020, have new improvements that make them both easier to understand and implement for game developers. These improvements include adjusting the language to make it clearer to grasp, adding “scoping questions” to help developers identify specific elements, and updating goals to make them easier to understand.
Xbox is also bolstering its partnership with the Gaming & Disability Community to ensure that disabled gamers have their voices heard and limitations respected. The company is including gamers with disabilities in the accessibility testing programs. This collaboration will see games tested against the XAGs by members of the disabled games community to request and suggest more ways video games can be accessible to the 61 million people with disabilities. This initiative is an “industry-first, platform-provided” program, Xbox said in a news release.
This comes two years after the Xbox Adaptive Controller, which has been a success for Microsoft by letting gamers with disabilities create setups geared toward their capabilities.
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With the series following a Japan-inspired theme for the first time in over 10 years, the monsters in Monster Hunter Rise are something else. Director Yasunori Ichinose explains how the art team was inspired by ghosts and spirits of Japanese folklore, or yokai, for the design of Rise’s new monsters. Furthermore, The Rampage – a catastrophic event in which a horde of monsters attack Rise’s hub Kamura Village – was inspired by Hyakki Yako, an ancient Japanese myth often translated as “night parade of one hundred demons.”
“Hyakki Yako portrays countless yokai parading at night. We wanted to recreate that image in the world of Monster Hunter,” Ichinose says.
See all the comparisons between monsters and yokai in the slide-show above with additional concept art and explanations!
To give The Rampage an authentic feel that actually resembles Hyakki Yako’s parade of ghosts, Ichinose and his team sought inspiration from yokai as well as other Japanese legendary creatures and stories for Rise’s new monsters. Ichinose gave us a thorough explanation of how seven of these monsters came to be.
Magnamalo
“Magnamalo will be Rise’s main monster, and is Kamura Village’s biggest threat together with The Rampage,” says Ichinose. “The main inspiration for Magnamalo came from samurai armor. While not a yokai per se, an armored samurai ghost is a well-known image, and we took this as the base for Magnamalo’s design.”
Ichinose further explains that hitodama, or balls of fire that float around at night, are often associated with armored samurai ghosts, as they are said to be the souls of the dead.
“That’s why Magnamalo emits a gas from his body that looks like onibi (ghost light),” explains Ichinose. Apart from the obvious Japanese inspirations, Ichinose says that Magnamalo’s design was also inspired by tigers that inhabit other Asian countries.
Aknosom
The Aknosom was designed as a combination between a crane and kasa-obake, a well-known yokai that is shaped like an umbrella. Kasa-obake have appeared in other video games such as Nioh, Yo-kai Watch 2 and Pocky & Rocky as well.
“When a crane stands on one foot, it looks just like an umbrella, which is why we chose to combine them together,” says Ichinose. “When it closes its wings, its patterns resemble an umbrella with a long tongue, which is a hallmark of kasa-obake’s feisty attitude.”
Tetranadon
The Tetranadon was based on kappa, one of the most common yokai in Japanese folklore, with many legends and stories that have spread throughout the country. A kappa is a green creature that is often depicted as a mix between a young boy and a turtle. While Tetranadon’s design obviously does not resemble a young boy, you can definitely notice its turtle heritage.
“We looked at creatures that live near water. Turtles, crocodiles… even platypuses!” Ichinose recalls.
Another renowned characteristic of kappa is the dish-shaped depression on top of their head, which can be seen on Tetranadon’s head as well, giving it a slightly more cute look than your average Monster Hunter creature.
“Legends say that kappa enjoy sumo wrestling, which is why Tetranadon uses famous sumo wrestling attacks like open-hand strikes, or tsuppari,” Ichinose adds.
Great Izuchi
The Great Izuchi was inspired by kamaitachi, one of the sneakiest yokai. The kamaitachi is a weasel-like creature that attacks people in the midst of a whirlwind, but it attacks so fast that its victims don’t even notice.
“The kamaitachi work together in a group of three, which is why the Great Izuchi has two regular Izuchi help out,” Ichinose explains.
The kamaitachi strikes with either its scythe-shaped tail or its hands, which is why it should be no surprise that the Great Izuchi’s tail has the shape of a giant scythe as well.
“To make the design match Monster Hunter’s world, we made the Izuchi raptor-type creatures,” Ichinose adds.
Somnacanth
“While mermaids are commonly known as aquatic creatures with the upper body of a young beautiful woman, Japanese folklore has its own type of mermaids with the upper body of a devil instead,” Ichinose says.
The Somnacanth is a mixture between Western and Japanese mermaids. While its appearance is as menacing as any monster in the series, the Somnacanth swims in style and has a mesmerizing singing voice. Ichinose says that the team looked at sea otters for Somnacanth’s way of swimming.
“Western mermaids are known to lead people astray with their beauty, and we wanted to add a similar aspect to Somnacanth’s identity. Leading the player astray is a bit difficult to interpret as a gameplay mechanic, so we chose to give Somnacanth the ability to put the player to sleep instead,” Ichinose explains.
Bishaten
The Bishaten was inspired by tengu, another staple creature in Japanese folklore. The tengu shares similarities with Western devils, and is said to lure people to the evil path. Its most common appearance sports a red face and long nose, but there are many different sorts of tengu. Ichinose tells us that Bishaten was inspired by the most common image of a tengu, as well as the karasu-tengu, which has a sharp nose and looks like a crow.
“While Bishaten’s skeleton is close to that of a monkey, its tail is the shape of the fan a tengu often holds in his hands. It throws items at the hunter such as persimmon fruit, which shows that it is a monster of high intelligence,” Ichinose says.
Another feature of the Bishaten is that it shows a wide variety of facial expressions, Ichinose tells us.
Goss Harag
Namahage photo: Nakashi / Wikimedia Commons
For Goss Harag the team referenced namahage, a beast that appears at a traditional festival in certain areas of Akita Prefecture in Japan. At this event, men dressed as demon-like beings in straw capes with either red or blue ogre masks and (fake) knives go door-to-door to frighten children that have misbehaved.
“When we were thinking of monsters that inhabit the Frost Islands, namahage came to mind, as Akita is a very cold and snowy area in the northeast of Japan,” Ichinose tells us.
With a huge ice blade attached to his right hand, the Goss Harag will surely give Monster Hunter Rise players a good scare!
When Monster Hunter Rise releases on March 26 for the Nintendo Switch, it will be the first game in the series with a Japan-inspired theme in more than a decade.
Monster Hunter Portable 3rd, the 2010 PSP title that never made it to the West, is the only other Monster Hunter title with a Japan-inspired setting. It’s no coincidence that both games were directed by the same person, Yasunori Ichinose.
“Personally, I’ve always been fond of Japanese settings. Since quite some time has passed since Portable 3rd, with Rise it felt like the right timing to reintroduce a Japanese themed world, with other Asian influences as well,” Ichinose tells IGN.
When asked if there are any connections between Portable 3rd and Rise, Ichinose hints at an interesting link between the village hubs of each game.
[ignvideo url=”https://www.ign.com/videos/2010/03/16/monster-hunter-freedom-3-sony-psp-trailer-first-look-trailer”] See Monster Hunter Portable 3rd’s Japanese-inspired Yukumo Village in the video above.
While Rise’s Kamura Village is a completely new location, Portable 3rd’s Yukumo Village has also appeared in Monster Hunter Generations and Monster Hunter Generations Ultimate, and has been mentioned in other titles such as Monster Hunter 3 Ultimate and Monster Hunter 4 Ultimate as well, which makes it a familiar location for Western fans of the series, too.
“While the geographical location of Kamura Village and the maps you will be exploring is never explicitly mentioned in the game, you might notice some aspects that indicate that it could be close to Yukumo Village,” Ichinose says.
Interestingly, one of the least Asian-looking maps actually shows the closest connection. Ichinose says that Flooded Forest – a map with temple ruins that feel more inspired by South American culture – could indicate a geographical relation to Yukumo Village.
“Portable 3rd had a map with the same name, so players might notice that Yukumo Village could be a nearby location.”
Yukumo Village is famous for its hot springs, and Ichinose recalls developing Portable 3rd while dreaming of soaking in one. For Kamura Village, they couldn’t repeat the same setting, which is why the team decided to go for a village inspired by ninja culture instead.
“While there’s no stealth gameplay involved, you could say that the Wirebug – which allows you to swing around and wall-run – shares similarities with ninja-like action,” he explains. “Thanks to manga and other works of fiction, ninja have become a popular icon in the West as well, and we thought it would be an interesting source of inspiration.”
But while a hot spring resort and a ninja community are drastically different settings, further hints can be found that suggest a close relation, both culturally and geographically.
“While it’s not mentioned in the game, Kamura Village uses the same alphabet as can be seen in Yukumo Village, which shows that they share cultural similarities and are likely not too far away from each other,” Ichinose says.
Judging by the way Ichinose phrases these comments, it doesn’t seem likely that Yukumo Village makes an actual appearance or even that it will be mentioned in the game, but hints like these might be enough for some interesting fan theories.
The latest movie in the Paranormal Activity series has been announced. This will be the seventh film in the hugely successful found footage horror franchise, and it’s set to arrive in 2022.
The series kicked off in 2009 with Paranormal Activity. The film was directed by Oren Peli, a software developer with no prior filmmaking experience, who had a great idea that was relatively easy to execute and set about making it in his own home. The movie focused on a young couple who experience strange, scary noises in their house, so set up video cameras to record overnight to find out what is causing them. It was shot in 2007 and took two years to reach theaters, but was a huge success when it finally did, with audiences flocking to see this scary and intense found footage experience. The tiny $15,000 production budget and $193 million worldwide gross helped make it one of one of the most profitable films of all time.
A sequel quickly followed, and soon Paranormal Activity had become an entire franchise. To date there have been six movies, and while budgets have grown a little, they have all proved highly successful. None of the films have deviated far from the formula–Paranormal Activity 3 was a prequel, the fifth movie, 2014’s Paranormal Activity: The Marked Ones, introduced a cult aspect, and there is a vague connected mythology that has developed across the series. But for the most part the films have just attempted to replicate what made the first film so popular, with varying degrees of success. There was even a Japanese spin-off titled Paranormal Activity 2: Tokyo Night, which was released in 2010.
It’s been five years since the last movie, but there’s another entry on the way. Paranormal Activity 7 was first announced in 2019, with a 2021 release date. However, the COVID-19 pandemic delayed production, and the movie will now shoot this year ahead of a 2022 release. It’s early days, but here’s everything we know so far about the next Paranormal Activity film.
When will Paranormal Activity 7 be released?
Paranormal Activity 7 is scheduled for release on March 4, 2022.
What’s the title?
The movie doesn’t have an official title yet.
Who’s the director?
Will Eubank will direct the movie. This will be Eubank’s second horror film, following 2020’s aquatic monster movie Underwater, which starred Kristen Stewart. Prior to that, Eubank helmed two indie sci-fi movies–Love (2011) and The Signal (2014).
Who’s the writer?
Paranormal Activity 7 will be written by Christopher Landon, who has been heavily involved in the franchise since the second movie, which he co-wrote. Landon was the sole writer on parts 3 and 4, and he wrote and directed the fifth movie, The Marked Ones. Away from Paranormal Activity, Landon wrote and directed the two Happy Death Day films, as well as last year’s body swap slasher Freaky.
Who’s the producer?
Paranormal Activity will be produced by Jason Blum and his company Blumhouse Productions. Blum has been involved with the series since the very start. The success of the first movie helped establish Blumhouse as one of the most successful independent production companies in Hollywood, and it has continued to release popular horror movies made on modest budgets ever since, including the Purge and Insidious films, and 2018’s Halloween reboot.
Is there any footage or images?
The movie has yet to start production, so there’s no images or footage so far.
What’s the story?
No plot details have been revealed yet, and we don’t know if the movie will be a complete reboot or a continuation of any of the existing stories. However, Landon teased the movie on Twitter, stating, “no one could possibly guess what new, crazy nightmares [Eubank] and I are cooking up. Expect the unexpected.” In addition, The Hollywood Reporter revealed that it will continue the found footage format of the previous movies.
