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When Sonic 3 hits the theaters later this year, you may be able to watch a franchise fan favorite be voiced by one of Hollywood's all-time fan favorite actors. Keanu Reeves will play the broody, tortured Shadow the Hedgehog, according to The Hollywood Reporter and Variety. The antihero, who's both an arch-rival and an ally to Sonic, will be created by Jim Carrey's Dr. Robotnik after the events of Sonic 2, based on the movie's first footage presented at CinemaCon last week. 

Shadow has a long history in the Sonic universe and first appeared in Sonic Adventure 2, which came out back in 2001. The black-furred anthropomorphic hedgehog was created in the games to help find a cure for Dr. Robotnik's granddaughter Maria, who had a terminal disease. It's unclear if the movie will follow a similar storyline — though we can again expect Sonic and his gang to stop Dr. Robotnik's plans to take over the world — but we'll likely get more details about the film before it comes out on December 20. Jeff Fowler will still lead the production as its director, while Ben Schwartz and James Marsden are reprising their roles as Sonic and his adoptive father-of-sorts Sheriff Tom Wachowski, respectively. 

This article originally appeared on Engadget at https://www.engadget.com/keanu-reeves-is-reportedly-playing-shadow-the-hedgehog-in-sonic-3-072847772.html?src=rss

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Possibility Space, an independent game studio with employees distributed across the globe, was abruptly shut down today by its CEO Jeff Strain, former employees revealed on Twitter. The studio launched in 2021 with the goal of creating a AAA title, and it had also hired industry notables like Waypoint's Austin Walker and Ubisoft designer Liz England. Its closure follows the shutdown of Crop Circle Games last month, another studio owned by Strain's Prytania Media, which he co-founded with his wife Annie Delisi Strain.

In an e-mail obtained by Polygon reporter Nicole Carpenter, Strain said he was "stunned" to learn that confidential information about the studio's major title, code-named Project Vonnegut, was shared with Kotaku reporter Ethan Gach. Strain claims that an unnamed publisher "expressed low confidence" about funding the studio any further, which led to a mutual agreement to cancel the title. Subsequently, he decided to shut down the studio entirely.

Possibility Space isn't the first studio to have game details leaked to press, and it's unclear why that information was damning enough to lose publisher funding (and don't forget, this is only Strain's version of events). 

Earlier this month, Annie Delisi Strain also issued a similarly baffling letter (via IGN) where she blamed Crop Circle Game's closure on economic downturn, but additionally revealed that she was diagnosed with multiple-sclerosis. She claimed, without evidence, that Kotaku's Gach could potentially publish her health details without consulting her: "I stepped down as CEO this winter on a medical leave and while I don't know the content of Mr. Gach's article, I have no assurances that my personal health struggles as a rare female game industry CEO will not be covered in his article."

This article originally appeared on Engadget at https://www.engadget.com/indie-game-studio-possibility-space-shuts-down-ceo-blames-a-reporter-195001168.html?src=rss

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Ubisoft’s online-only racing game The Crew stopped being operable on April 1. Some users are reporting, however, that things have gone a bit further. They say that the company actually reached into Ubisoft Connect accounts and revoked the license to access the game, according to reports by Game Rant and others.

Some of these users liken this move to theft, as they had purchased the game with their own money and received no warning that Ubisoft would be deleting the license. When attempting to launch the game, these players say they received a message stating that access was no longer possible.

On its face, this sounds pretty bad. People paid for something that was snatched away. However, there’s one major caveat. The Crew is an online-only racing game, so there really isn’t anything to do without the servers. Those servers went down on April 1 and the game was delisted from digital store fronts. Also, this move only impacts the original game. The Crew 2 and The Crew Motorfest are both still going.

When Ubisoft announced that the servers would be taken offline, it offered refunds to those who recently purchased the The Crew. The game’s been around a decade, so this refund likely didn’t apply to the vast majority of players. Some of these people said they had planned to set up private servers to play the game, an option that is now impossible.

This isn’t the biggest deal in the world, being as how The Crew is not operable, but it does highlight a major problem with the purchase and use of digital goods. We pay money for these products. We think we own them, but we don’t own a damned thing. Read the terms of service from Ubisoft or any other major games publisher for proof of that. Philippe Tremblay, Ubisoft's director of subscriptions, recently told Gamesindustry.biz that players will become “comfortable with not owning” their games. I’m not so sure we’ll ever be comfortable with the idea that stuff we paid for can disappear on a dime, even if it becomes standard practice.

This article originally appeared on Engadget at https://www.engadget.com/ubisoft-is-deleting-the-crew-from-players-libraries-reminding-us-we-own-nothing-165328083.html?src=rss

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Many major tech companies, particularly those that operate in the TV hardware business, have dipped their toes into original content. Although it's had its own free, ad-supported TV (FAST) channels for a while, TCL is late to that party. Not for much longer though, as the company is set to release its first special, a short romance movie, on TCLtv+ this summer. There's just one slight hitch: TCL is using generative AI to make original content for its platform, and early signs do not bode well.

The company has released the first trailer for Next Stop Paris, which it's calling "the first AI-powered love story." TCL used human writers, as well as actors for motion capture and voice performances. While it has artists in the US, Canada, UK and Poland working on the project, it relied heavily on generative AI.

“I am excited by this opportunity to differentiate us with original programming. AIGC [artificial intelligence generated content] for us is the beginning," Chris Regina, TCL's chief content officer, told Broadcasting+Cable. "It’s a new approach and it makes sense coming from a tech and hardware company that that’s where we’re going to start.”

The plot of Next Stop Paris, such as it is, sees a young woman going on her honeymoon to Paris alone after her fiancé ran off with someone in their wedding party. She meets a stranger on the train and the pair explore the French capital together.

TCL is hoping that original content can help draw viewers to TCLtv+ and help build a brand identity for the company. While it's not entirely fair to judge a film based on a trailer, the Next Stop Paris clip gives a terrible first impression for both the project and TCLtv+.

The look of the characters changes throughout, from a moderately realistic style to the hyperrealism we often see from the likes of Midjourney, and they project all of the emotion of a pair of dead fish. Lip syncing is almost non-existent and the characters walk in a very unnatural way. 

The trailer feels like the worst kind of fever dream. Saying this looks like garbage would be an insult to garbage. If "content is king," as Regina put it, Next Stop Paris looks like a pauper.

The Hallmark Channel gets a lot of flak for its romance movies and romcoms, but at least there's an earnestness and high level of care behind the network's output, which does a lot to fill a gap in the theatrical slate. TCL is trying to muscle into that space too.

"There's an audience there that's watching our service and we see a hole in the marketplace with theatrical rom-coms not as prevalent," Regina said. "They're a guilty pleasure. You get under a blanket and watch in front of your TV set. So that's the driver." On top of that, TCL plans to make its original content shoppable and have AI-generated "characters in our shows that can be brand ambassadors and influencers for advertisers."

Thankfully, TCL isn't only working on AI-generated guff. "We are looking at doing traditional content. So movies, scripted shows, unscripted content, specials," Regina, who wrote Next Stop Paris with TCL chief creative officer Daniel Smith, said. "The next thing we have brewing isn't AI at all." That's good, because whatever's next can't look much worse than Next Stop Paris.

This article originally appeared on Engadget at https://www.engadget.com/tcls-first-original-movie-is-an-absurd-looking-ai-generated-love-story-154142740.html?src=rss

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