Business World

Fiascos and fumbles: Oscar organizers stumble to restore glory GAME TIME

- ANTHONY L. CUAYCONG

LOS ANGELES — First it was the furor over a proposed new “popular” film category, then it was the fiasco over planned host Kevin Hart, and last month the organizers of the Oscars were accused of intimidati­ng celebritie­s not to present at rival award shows.

Last week, another storm erupted when, as part of a pledge to shorten next Sunday’s Oscars ceremony, plans to present awards for cinematogr­aphy, film editing, live-action shorts, and makeup/hairstylin­g during commercial breaks were slammed as insulting by actors, directors, and cinematogr­aphers. Five days later, the plan was scrapped.

It’s been a tough 12 months for the Academy of Motion Picture Arts and Sciences as it battles to restore its annual Oscars show to a must-see event after the US television audience slumped to an all-time low last year.

“This year, the bigger question than who will win at the Oscars is what the heck is going on at the academy?” said Tim Gray, awards editor at Hollywood trade publicatio­n Variety.

“There have been a slew of bungles,” Mr. Gray added. “I feel they are flailing around and acting out of desperatio­n.”

Under pressure from the ABC television network to trim and liven up the ceremony, the academy has seen many of its efforts backfire.

Bungles include a retreat in September over a proposed new “popular film” category, the withdrawal in December of Oscars host Kevin Hart because of past homophobic tweets, and an accusation in January by the US actors union that the academy was pressuring celebritie­s not to appear or present at award ceremonies other than the Oscars.

The Oscars is the last in a long Hollywood season that sees award shows and celebrityp­acked red carpets every week over two months.

“The academy is caught between its role as a venerable institutio­n that confers honors for the ages on film and the demands of the hurly-burly of social media, the 24/7 news cycle and the demands of the ratings,” said Sharon Waxman, founder and editor in chief of Hollywood website The Wrap.

‘PEOPLE REALLY CARE’

The academy did not return a request for comment for this story, but said in a letter to members last week that show producers “have given great considerat­ion to both Oscar tradition and our broad global audience.”

ABC Entertainm­ent President Karey Burke told reporters earlier this month she believed that the publicity around the Kevin Hart withdrawal showed the Oscars was still relevant.

“I, ironically, have found that the lack of clarity around the Oscars has kept the Oscars really in the conversati­on, and that the mystery has really been compelling,” Ms. Burke said. “People really care.”

The missteps have all but drowned out initial kudos over this year’s diverse Oscar nomination­s list, which range from art house films like Roma to superhero blockbuste­r Black Panther,

and crowd-pleasing musicals Bohemian Rhapsody and A Star is Born.

Awards watchers say the Academy’s efforts to deliver a compelling show for viewers next week — it will be held on Feb. 24 — still risk falling flat.

“The Academy is dealing yet again with what appears to be a leading film that is a very small film, in Spanish, and in black and white, that has not been seen by that many people,” Ms. Waxman said, referring to best picture front-runner Roma. Recent bestpictur­e winners include small art-house films The Shape of Water last year and Moonlight in 2017.

“That is the more fundamenta­l problem the Academy is facing with this telecast,” Ms. Waxman added.

Variety’s Mr. Gray said that, for the movie industry, the Oscars ceremony is always an enjoyable family get-together.

“The Oscars should also be fun for the viewing audience,” he said. “We will see if they are.” —

The Liar Princess and the Blind Prince, gamers control one or the other depending on the situation, with the princess literally holding the hand of the prince and guiding him through challengin­g terrains and, whenever necessary, turning into her original wolf form to take care of hurdles or do battle with the forest’s threatenin­g inhabitant­s. Meanwhile, the prince can aid in the journey by appropriat­ely using — or placing, with directiona­l cues — objects only he can hold. The mechanics result in an experience that summons the need for both quick reflexes and analytical thinking. Even as jumps require perfect timing, puzzles oblige solutions that can border on the complex.

To be sure, the gameplay of The Liar Princess and the Blind Prince takes a little getting used to and, admittedly, can lead to frustratio­n. Even those long familiar with side scrollers that test hand-eye coordinati­on will find it exacting; its unforgivin­g nature makes the task of navigating two characters at the same time through rough patches difficult at best. On the flipside, it never fails to immerse, and the manner in which it does begets further engagement. Death is unavoidabl­e, but leads to improvemen­t; brain teasers stump, but never to the point of being unfair.

The Liar Princess and the Blind Prince benefits from complement­ary visual and sound designs that enhance the moods it wants to convey at any given moment. The visceral feedback cannot be denied, and is a decided boon for a chronicle that constantly pulls at heartstrin­gs. And, indeed, the art and music are favorable to both the narrative and the action; they enable gamers to better capture the nuances of the characters in the context of the tale as well as the trek. The journey to the witch who stands as the prince’s salvation and the wolf ’s redemption is made more compelling.

Expectedly, The Liar Princess and the Blind Prince runs best on the PlayStatio­n 4 Pro. That said, the Nintendo Switch also manages to acquit itself well, even undocked. Load times are fast on both platforms, with controller feedback exhibiting no lags and the muted colors and traditiona­l look and feel of the title coming through as envisioned. Moreover, the deliberate pace, uncomplica­ted interface, and frequency of checkpoint­s make for technicall­y stress-free gaming at home or on the go. Notably absent are the frame drops that plagued the previous release on the PS Vita.

In any case, the relatively short length of The Liar Princess and the Blind Prince comes off as both bad and good. Gamers are allowed to take their time en route to their destinatio­n, with optional collectibl­es (flowers and leaves) and objectives (concept art and background informatio­n) available for completion­ists to pursue. Nonetheles­s, it can be finished in less than 10 hours — and well under given the elective of a single button press to move on to the next stage. In the final analysis, it’s probably just as well; it neither feels rushed nor overstays its welcome. And, ultimately, it manages to do just what it wants: connect with and compel those who partake of it to invest emotions in characters and thereafter regard them with wistful longing.

The Liar Princess and the Blind Prince Playstatio­n 4/Nintendo Switch

THE GOOD:

• Outstandin­g story featuring layered characters

• Complement­ary art and sound designs

• Challengin­g puzzles, but not to the point of being unfair

• Leisurely pace; gamers never feel rushed

• Original Japanese voiceover is retained, augmented by English text

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