logo
Ubisoft Still Working On That Prince Of Persia Remake That Was Announced In 2020

Ubisoft Still Working On That Prince Of Persia Remake That Was Announced In 2020

Yahoo4 days ago

Remember that Prince of Persia: The Sands of Time remake Ubisoft announced back in 2020? The one that was supposed to launch four years ago? Well, it's still in development according to a new update from the publisher after the game was a no-show during Summer Game Fest.
Back in September 2020, Ubisoft announced a remake of 2003's Prince of Persia: The Sands of Time. It was set to launch in 2021 and was being developed by Ubisoft Pune and Ubisoft Mumbai. But then in December 2020, the game was delayed until March 2021. In February 2021, it was delayed again with no new release date given. Over a year later, in May 2022, Ubisoft announced that Ubisoft Montréal—the studio behind the original Sands of Time—was taking over the project. And it was then revealed that development on the remake was essentially starting over. At Summer Game Fest 2024, Ubisoft re-announced the Sands of Time remake with a tiny teaser and a new 2026 release date. That brings us to today, when Ubisoft really wants you all to know that things are going great. Promise!
On June 16, over a week after Summer Game Fest 2025 wrapped up, Ubisoft shared a small update about the Sands of Time remake. Some fans were nervous that the game might have been delayed again or canceled after it went unmentioned during any SGF-related event or showcase. Ubisoft has now said that's not the case, claiming the game is still 'deep' in development.
'Yep, we're still deep in the game — exploring, building, and ensuring the sands move with purpose,' said Ubisoft on Monday. 'This game is being crafted by a team that truly cares, and they're pouring their hearts (and a lot of coffee) into every step. Thank you for sticking with us.'
In a follow-up message on Twitter, Ubisoft told people to go check out a different, already released entry in the series, The Rogue Prince of Persia, while 'development continues behind the scenes.'
So...there you go. Ubisoft is still remaking Prince of Persia: The Sands of Time. If it lands its 2026 release date, it will be out just in time to celebrate the original game's 23-year anniversary.
.
For the latest news, Facebook, Twitter and Instagram.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Serpents to saints: The fascinating journey of India's spiritual art
Serpents to saints: The fascinating journey of India's spiritual art

Yahoo

timean hour ago

  • Yahoo

Serpents to saints: The fascinating journey of India's spiritual art

A new exhibition at the British Museum in London showcases the rich journey of India's spiritual art. Titled Ancient India: Living Traditions, it brings together 189 remarkable objects spanning centuries. Visitors can explore everything from 2,000-year-old sculptures and paintings to intricate narrative panels and manuscripts, revealing the stunning evolution of spiritual expression in India. Art from the Indian subcontinent underwent a profound transformation between 200BC and AD600. The imagery which depicted gods, goddesses, supreme preachers and enlightened souls of three ancient religions - Hinduism, Buddhism and Jainism - was reimagined from symbolic to more recognisably deriving from human form. While the three religions shared common cultural roots - worshipping ancient nature spirits such as potent serpents or the feisty peafowl - they negotiated dramatic shifts in religious iconography during this pivotal period which continues to have contemporary relevance two millennia apart. "Today we can't imagine the veneration of Hindu, Jain or Buddhist divine spirits or deities without a human form, can we? Which is what makes this transition so interesting," says Sushma Jansari, the exhibition's curator. The exhibition explores both the continuity and change in India's sacred art through five sections, starting with the nature spirits, followed by sub-sections dedicated to each of the three religions, and concluding with the spread of the faiths and their art beyond India to other parts of the world like Cambodia and China. The centrepiece of the Buddhist section of the exhibition – a striking two-sided sandstone panel that shows the evolution of the Buddha - is perhaps the most distinguishable in depicting this great transition. One side, carved in about AD250, reveals the Buddha in human form with intricate embellishments, while on the other - carved earlier in about 50-1BC - he's represented symbolically through a tree, an empty throne and footprints. The sculpture - from a sacred shrine in Amaravati (in India's south-east) - was once part of the decorative circular base of a stupa, or a Buddhist monument. To have this transformation showcased on "one single panel from one single shrine is quite extraordinary", says Ms Jansari. In the Hindu section, another early bronze statue reflects the gradual evolution of sacred visual imagery through the depiction of goddesses. The figure resembles a yakshi - a powerful primordial nature spirit that can bestow both "abundance and fertility, as well as death and disease" - recognisable through her floral headdress, jewellery and full figure. But it also incorporates multiple arms holding specific sacred objects which became characteristic of how Hindu female deities were represented in later centuries. On display also are captivating examples of Jain religious art, which largely focus on its 24 enlightened teachers called tirthankaras. The earliest such representations were found on a mottled pink sandstone dating back about 2,000 years and began to be recognised through the sacred symbol of an endless knot on the teachers' chest. The sculptures commissioned across these religions were often made in common workshops in the ancient city of Mathura which the curators say explains why there are marked similarities between them. Unlike other shows on South Asia, the exhibition is unique because it is the "first ever" look at the origins of all three religious artistic traditions together, rather than separately, says Ms Jansari. In addition, it carefully calls attention to the provenance of every object on display, with brief explanations on the object's journey through various hands, its acquisition by museums and so on. The show highlights intriguing detail such as the fact that many of the donors of Buddhist art in particular were women. But it fails to answer why the material transformation in the visual language took place. "That remains a million-dollar question. Scholars are still debating this," says Ms Jansari. "Unless more evidence comes through, we aren't going to know. But the extraordinary flourishing of figurative art tells us that people really took to the idea of imagining the divine as human." The show is a multi-sensory experience - with scents, drapes, nature sounds, and vibrant colours designed to evoke the atmospherics of active Hindu, Buddhist and Jain religious shrines. "There's so much going on in these sacred spaces, and yet there's an innate calm and serenity. I wanted to bring that out," says Ms Jansari, who collaborated with several designers, artists and community partners to put it together. Punctuating the displays are screens displaying short films of practising worshipers from each of the religions in Britain. These underscore the point that this isn't just about "ancient art but also living tradition" that's continuously relevant to millions of people in the UK and other parts of the globe, far beyond modern India's borders. The exhibition draws from the British Museum's South Asian collection with 37 loans from private lenders and national and international museums and libraries in the UK, Europe and India. Ancient India: Living Traditions is showing at the British Museum, London, from 22 May to 19 October. Follow BBC News India on Instagram, YouTube, X and Facebook.

Danny Boyle says he 'wouldn't even contemplate' making 'Slumdog Millionaire' today because of its 'cultural appropriation'
Danny Boyle says he 'wouldn't even contemplate' making 'Slumdog Millionaire' today because of its 'cultural appropriation'

Yahoo

time2 hours ago

  • Yahoo

Danny Boyle says he 'wouldn't even contemplate' making 'Slumdog Millionaire' today because of its 'cultural appropriation'

Seventeen years ago, Slumdog Millionaire swept the 81st Academy Awards, walking away with eight of the 10 Oscars it was nominated for. But Danny Boyle, who took home the 2009 Academy Award for Best Director for his work on the film, says he wouldn't be the right person to helm the Mumbai-set drama if it were in the works today. 'Yeah, we wouldn't be able to make that now,' Boyle recently told The Guardian. Released in 2008, Slumdog tells the story of 18-year-old orphan Jamal Malik (Dev Patel), who survives the violent, poverty-stricken slums of Mumbai to win big on the Hindi version of Who Wants to Be a Millionaire. The film, which loosely follows Vikas Swarup's novel Q & A, used a local crew for its Mumbai filming locations and featured actors speaking both English and Hindi. 'At the time it felt radical,' Boyle said. 'We made the decision that only a handful of us would go to Mumbai. We'd work with a big Indian crew and try to make a film within the culture.' However, the intervening years caused Boyle to rethink that approach. 'You're still an outsider,' the Trainspotting director said. 'It's still a flawed method. That kind of cultural appropriation might be sanctioned at certain times. But at other times it cannot be.' As proud as the 68-year-old Brit is of the film, he acknowledged that a modern Slumdog would have trouble getting financed under that model. 'You wouldn't even contemplate doing something like that today,' he said. 'And that's how it should be. It's time to reflect on all that. We have to look at the cultural baggage we carry and the mark that we've left on the world.' Boyle told to EW in 2009 that he dove into Slumdog because he wanted to make a 'very immediate and vital' movie after finishing work on the chilly sci-fi thriller Sunshine. 'I learned quickly that when you work in Mumbai you have to accept what you find,' he said at the time. 'As a Westerner you have this feeling that you can fight bad things and work on good things and separate the two. What you have to do is accept and absorb both. That's what changed me.' In a 2008 director's roundtable convened by The Hollywood Reporter, Boyle acknowledged that he didn't have a full grasp on India during Slumdog's production. 'I know nothing of it, really,' he said in THR's video. 'You get a tiny little glimpse and maybe if we've done it well, there's a bit of it that's convincing, for the time being until somebody makes something better. You absolutely have to humble yourself in front of it.' Boyle told the roundtable that he expected to be viewed as a colonialist when he arrived in Mumbai and was surprised that the people there viewed him as 'a footnote.' 'It lets you let go of that kind of attitude,' he said. 'Either you go home disappointed or you get home and make the film.'Today, however, Boyle told The Guardian that if he were to be part of the team bringing Slumdog to the screen today, he'd want it to be directed by a young Indian filmmaker. 'And that's how it should be. It's time to reflect on all that,' he said. 'We have to look at the cultural baggage we carry and the mark that we've left on the world.' Boyle discussed his evolving thoughts as the newest film in his zombie horror series makes its worldwide theatrical deb. Starring Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes, and Alfie Williams, 28 Years Later is a companion piece to 2002's 28 Days Later and 2007's 28 Weeks Later (but not, crucially, the 2000 Sandra Bullock rehab comedy/drama 28 Days). Read the original article on Entertainment Weekly

Crisol is a BioShock-Like Cult Horror Shooter Using Your Blood For Bullets
Crisol is a BioShock-Like Cult Horror Shooter Using Your Blood For Bullets

CNET

time9 hours ago

  • CNET

Crisol is a BioShock-Like Cult Horror Shooter Using Your Blood For Bullets

One of the best things about Summer Game Fest is discovering games that blend some of your favorite classics into something wholly new. Crisol: Theater of Idols is a game with clear BioShock influence in its first-person shooter exploration, but melds some cult horror from games like Resident Evil 4 into the mix. On top of it all, to reload your gun, you've gotta sacrifice your own blood -- and take a chunk from your own health bar. It's a novel mechanic that combines with the gothic, nautical setting for a promising approach to horror action games. Crisol is being developed by Vermila Studios, which was acquired by Embracer Group in 2020, but the game is being published by Blumhouse Games. After playing through a 20-minute demo of his new game, the studio's CEO David Carrasco explained how its game is a course correction for horror games. Each gun has its own blood-reloading animation -- for this pistol, spikes jut out from the handle and pierce to palm to draw their tithe to reload. Vermila Studios "We've thought for a long time that survival horror was getting to where you didn't have that survival element so much," Carrasco said. "We wanted to give it an extra layer of tension by using your blood, your holy blood, to defeat these unholy monsters." I certainly felt it in the demo. As I stalked the moonlit cobblestone streets of an island teeming with unholy, creepy marionette creatures, knowing every missed shot was a bit of lost life. Survival horror games give players weapons to quench fear (or in their absence, amplify it, as with the Amnesia series), but tying my guns' efficacy to my health made me slow down and pick my shots, amping up the fear as enemies closed in -- "keeping that tension constantly in the back of your head," as Carrasco put it. While I felt the slightest concern for players with poor aim, there are health-restoring syringes sitting in the corners of abandoned shops and buildings. Crisol also has a mechanic where players can harvest blood (and thus, chunks of life) from dead animals lying around. Tying weapons to health is a twist on another survival horror game trope of saving heavy weapons ammo for dangerous bosses later on, Carrasco noted -- in Crisol, you'll always be able to use your big guns…for a price. In Crisol, players take on the role of Gabriel, captain of the Tercios Del Sol, a command of soldiers under a sun-worshiping religion that takes on holy missions. He receives a divine order to go to an old island that's spun off into its own sea religion, Tormentosa, and deal with idol statues that have come alive and begun rampaging around. When I asked what inspired Crisol, Carrasco was up-front that Bioshock and a number of Resident Evil games (4, 7 and 8 specifically) had the right mix of artistic design and gameplay Vermila Studios was looking for. Dishonored was another source for its heavy emphasis on art. "Sprinkle in Spanish folklore, religious undertones, and in the end, with all of those fantastic and crazy and brutal inspirations make something that will be unique and memorable," Carrasco said. Marionette-like idol enemies that have come to life on the island. Vermila Studios Spanish folklore is underutilized compared to the Japanese, Nordic and American mythology that appears in many games, Carrasco said. Vermila Studios, based in the Spanish city of Madrid, drew on its home country's history and culture -- and though the island players visit in Crisol doesn't explicitly take place in Spain, players will be able to connect the dots with the cathedrals, old architecture, polychromatic statues and stained-glass windows that make up the game's visual language. That blend applies to religion, too: players will run into a faith following on Crisol's island that follows religions of the sea and sun, which I saw a bit of in the demo, with deification of mermaids and other pseudo-pagan effects. But Carrasco acknowledges the Catholic influence in the game, too. "We've taken a lot of religious inspiration from different religious, like the Catholic Church, which has a lot of deeply rooted components in the Spanish culture, but [also] some other, older religions, even cults from very old history," Carrasco said, affirming that there's no explicit connection to the Catholic church or Christianity. "We do have holy blood, but it's not like a Christ or any connection to the reality of religions nowadays." As I wander the cobbled streets of the demo, I see how all these elements blend into Crisol's visual language. Vermila Studio has a larger-than-usual art department, Carrasco noted, with around 20 people working for five years scribbling out drafts of enemies and locations to give the game a look and feel that felt familiar, fantastical and plausible at the same time -- that it really could be on an island out to sea. Vermila Studios As players explore the 10- to 14-hour game, they'll experience the creeping horror of the cult's presence, but Vermila isn't relying on a lot of jump scares, Carrasco said, which can lose their impact if overused. Rather, the game will rely on the tension of enemies behind and pursuing you, from those you run out of blood bullets (and health) to defeat, to those unaffected by your weapons. In the second half of the demo, I ran into what Carrasco was talking about: a tall, hulking marionette monster with an impossibly wide smile that called out to me, shrugging off my bullets as I darted into buildings to evade its pursuit. Like other invulnerable pursuit bosses (Mr. X in Resident Evil 2, Jack Baker in Resident Evil 7), I had to sneak around while finding bolt cutters to clip chained-off doors. I also had to roll up a gate agonizingly slowly, expecting my stalker to close in on me at any second. I escaped into a mermaid-themed restaurant and the demo ended, but the vibes of the game stuck with me. They clearly appealed to Blumhouse, too, who were interested in Crisol's dramatic art style and its blood mechanics. For Vermila Studios, Blumhouse was a good fit for its track record of bringing in new artists and projects that may be smaller but bring something new to the table. "For us, being a part of this Blumhouse lineup is just like a partnership made in heaven -- or hell, maybe -- where they understand horror and what tickles that," Carrasco said. Crisol: Theater of Idols is coming to PC, PS5 and Xbox later in 2025.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store