While the character-based erotic mousepad Kashino of the multimedia franchise of Azur lane garnered incredible sales that far exceeded production expectations, the extreme popularity has also caused concern for the marketing director of Yostar Gamesas it revealed that there is not enough material to produce the products, especially the silicone that is used to shape the huge, life-size recreated breasts.
Kashino’s sexy mousepad was revealed during the virtual event Air Comiket, and is a collectible made of a special material that exhibits incomparable softness and firmness, priced at 49,500 yen (about $ 475), a price that rivals that of Playstation 5 in Japan.
Pre-orders were opened on December 31 and closed at the end of January January, and to the surprise of production, which admitted that they expected to sell between 100 and 200 units, the number of reservations amounted to 1,893. The above means that sales were 19 times higher than expected, and although that translates into a lot of money, it also requires ordering much more material than scheduled.
Income of approximately 93,703,500 yen (about $ 905 thousand) was earned and while such success is desirable for any business, the increased demand also required an increase in material, leading to the marketing director of Yostar Games, Dai miwaki, to reveal that have trouble acquiring enough silicone to make the products. Despite this, he apologized for possible product shipping delays and assured buyers that all purchases will be delivered without question.
About Azur Lane
The original game was developed by Shanghai Manjuu Y Xiamen Yongshiand released for iOS and Android devices in 2017. Subsequently, Azur Lane: Cross Wave was released for PC via Steam in February 2020 and a release for the console Nintendo switch in Japan it took place on September 17.
The original installment has inspired numerous manga and light novel adaptations, as well as a twelve-episode anime adaptation, produced by the studios. Bibury Animation Studios, Under the direction of Tensho and scripts written by Jin Haganeya, released in October 2019. The animated adaptation of the spinoff manga is currently airing. Azur Lane: Bisoku Zenshin!, for the studies Yostar Photos.
© 2017 Yostar, Inc. All rights reserved.
© 2017 Manjuu Co., Ltd. And Yongshi Co., Ltd. All rights reserved.
‘The Lord of the Rings’: Movistar + will launch a channel dedicated to Tolkien and Peter Jackson’s trilogy returns to theaters in 4K to celebrate its 20th anniversary
Next December will be 20 years since the premiere of ‘The Lord of the Rings: The Fellowship of the Ring’, the first installment of the now mythical trilogy in which Peter Jackson adapted the famous novel by J. R. R. Tolkien. However, Movistar + did not want to wait any longer to announce the launch of the channel Movistar Tolkien.
It will be next May 10 when Movistar Tolkien will be available on dial 23 of the company. Yes, it will be a pop-up channel that, in principle, will only be available until the 23rd of that month and in it, in addition to various additional content and extras about the Tolkien universe, you can see the following the trilogy of ‘The Lord of the Rings’ and’ The Hobbit ‘, which in both cases includes both his film versions and his extended montages, and’ Tolkien ‘.
Precisely the biopic of the famous writer starring Nicholas Hoult it will serve both to open and close the Movistar Tolkien programming during the time that it will be available.
The trilogy returns to theaters
Of course, perhaps there are those who prefer to take advantage of the return of the trilogy of ‘The Lord of the Rings’ to the cinemas of re-enjoy all three movies on the big screen with their 4K remastered versions. If this is the case, please register on the following dates:
The Lord of the Rings trilogy extended version 4k UHD [Blu-ray]
a claustrophobic space drama from Netflix that poses an exhilarating dilemma
“Stowaway” is the great cinematic release of Netflix this week, surprising the decision of the platform to launch it this Thursday, April 22. A movement perhaps motivated by the platform’s desire for ‘Shadow and Bone’ to become a new benchmark for them, but we must also not forget that it is not a truly original feature film, since in Canada it is distributed by Amazon.
Co-written and directed by the Brazilian Joe penna, ‘Stowaway’ is a space drama that shows how an accident puts a mission to Mars in serious danger, but before that it is discovered that there is an unexpected member of the expedition, something that had already complicated the situation. This results in a film that shines more in its psychological component although it stretches the gums a little more than necessary.
A strong human component
The first thing to be clear about ‘Stowaway’ is that we are facing a proposal with a leisurely pace with which Penna focuses more on showing how an extreme situation affects its protagonists than anything else. Of course, here the sense of urgency is sacrificed when making a decision for the benefit of how the need to take it affects its protagonists.
It is true that it does not take long to make it clear from which foot each of the four characters that appear on screen is limping, but the script signed by Penna together with Ryan morrison shows a special interest in how they deal with the dilemma the film raises about the possibility that there simply isn’t oxygen for everyone and someone has to be euthanized. This is something that Penna underlines from a staging that affects both the human component of the story and the claustrophobic element due to the feeling of being trapped there and with hardly any options to face such a dramatic situation.
In the most human part, it helps that the vast majority of the footage takes place inside the ship and with the protagonists being able to move without being affected by changes in gravity. It is also true that this partially limits the scope of “Stowaway”, since there comes a point where everything follows a somewhat predictable evolution without in exchange there being a sufficiently succulent evolution in the characters. In fact, the occasional sparks in which the protagonists make a series of confessions, generally associated with situations from their past, shine more brightly than with how they deal with the problem in question.
In his favor, he has to manage to create a stimulating atmosphere of tension from a series of very small elements, having Penna a great ally in the soundtrack of Hauschka to prevent interest from falling to the point of disconnecting. And it is that ‘Stowaway’ surely would have come out of a fable to adjust its footage a little more so that that sense of urgency that I mentioned earlier would have made a little more appearance.
The reason for this is that ‘Stowaway’ poses a very exhilarating dilemma, but when it comes to developing it, it feels more conventional than desirable, especially as the minutes go by. Not that I wanted an alien sadist to be behind the ship’s problem or for any of the expedition members to go crazy and wreak havoc, but there comes a point where that tense calm needs more than just extraordinary work from its protagonists. , especially from Toni Collette as the captain of the ship, to maintain that tension.
And it’s a shame that it happens, because Penna knows how to create the right climate by handling the camera, letting the scenes breathe and trusting its actors when composing its characters, seeking at all times a synergy between the visual and the psychological. The problem is that just when its protagonists are running out of oxygen, the film is losing steam, trying to qualify it with the specific exits to the outside – do not expect space to have a lot of presence here, yes – and at the moment when the inevitable result arrives, it no longer possesses the same strength as before.
“Stowaway” is a space drama that draws on its four leads to explore the exciting dilemma it poses, but he does not finish knowing how to finish the play for extending more than necessary in territories that are too well known. It can be said that it does so in line with what it raises, but that cannot serve as an excuse for the conventional to weaken the proposal.
Netflix subscriber growth slows after spectacular 2020 numbers (and the pandemic is to blame again)
Said like this, it may sound a bit frivolous, but the data accompany it: the spectacular The rise in Netflix subscriptions in 2020 can be largely attributed to the effects of the pandemic and confinement. We have consumed more audiovisual at home, and Netflix has certainly taken advantage of it. And now that we are slowly approaching the end of the crisis with the increase in vaccines, the spectacular increase in subscribers is frozen.
This was announced in the financial results of its first quarter of 2021: Netflix has increased the number of global subscribers by 3.98 million (for a total of 207.4 million). This 13.6% increase is well below its initial forecasts of attracting 6 million new customers. For this reason, it has readjusted its forecasts for the second quarter of 2021, in which it foresees only 1 million. Within that amount, Netflix allocates practically zero growth for the American continent: the United States, Canada and Latin America.
The company has no problem identifying the pandemic as the source of its overwhelming growth in 2020: “We believe that Paid Membership Growth Slowed In 2021 Due To Momentum From COVID-19 that was experienced in 2020. “But the pandemic has also had an impact on content production: the decrease in subscribers is attributed in the letter sent to its shareholders” to a lighter content agenda in the first half of this year, due to delays in COVID-19 Production. “
More investment in own production in 2021
To cushion the drop in subscriptions, the company increase the amount of money allocated to own production: 17,000 million dollars in content, which is a notable increase compared to 11.8 billion last year. It is a 44% increase, and with this they intend to counteract the delays in filming due to the pandemic and fulfill their recent promise of a weekly premiere of their own production.
That’s not to say Netflix’s finances are limping – the company has stated revenue of $ 7.16 billion, a quarterly record that continues to place it at the top of the platforms in transmission. The last year has seen the arrival of very powerful competitors that have transformed the content distribution and production business, since Disney Plus, HBO Max or Peacock belong to large audiovisual conglomerates with enormous power when it comes to unleashing new trends in the industry. .
Netflix has stated, however, that it does not believe that the “intensity of competition” to seize the market for transmission it has to do with this smaller than expected increase in the number of subscribers. But the truth is, you have a considerable challenge ahead of you to get noticed. Although today he announced that the fourth season of ‘Stranger Things’ will not arrive until 2022, the truth is that it has products of enormous weight for the second half of the year: ‘The Witcher’, ‘The paper house’, and movies like “Red Warning” or “Don’t Look Up”, for which there is hardly any data.
Locally, Netflix also wants to extend its tentacles as far as possible. Netflix Spain investment in content produced here and with international broadcastsAs they announced a few weeks ago, it also gives a good account of their expansion intentions. If 2020 was the year of the explosion of the transmissionIt seems that 2021 will be the one of the inevitable fight for the revalidation of the leadership.