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Universal Pictures Content Group announced on Friday (March 14) that it has begun production on a documentary chronicling heavy metal icons Iron Maiden‘s 50-year career. The currently untitled film is slated for release internationally in the fall, with U.S. theatrical distribution details to be confirmed later.
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According to a release, the long-awaited doc is an “emotive journey through Iron Maiden’s 50 Year history told from the perspective of both the band and some of their most devoted followers – from longstanding superfans to established names from the worlds of film and music such as Javier Bardem, Lars Ulrich and Gene Simmons.”
In addition, the doc is slated to feature exclusive interviews with key band members and the final interview with original vocalist, Paul Di’Anno, who died in October 2024 at 66 from a tear in the sac around his heart. In addition to rare archival footage of the group, the doc will also include all-new animated sequences with Maiden’s fan-favorite ghoulish grin zombie mascot Eddie, who has appeared on all their album covers.
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“We’re proud Universal Pictures Content Group has chosen to share the unique story of Iron Maiden with the world,” said Maiden manager Rod Smallwood in a statement about the film that will be directed by Malcolm Venville (Churchill At War). “We have given them unrestricted access to the band, our fans and musical peers. We trust that they will excite not only music fans but also anyone who loves a story of an underdog beating the odds to become and remain one of Britain’s biggest musical exports since our first record released 45 years ago.”
The movie description continues, “The film offers a unique visual experience that highlights Iron Maiden’s widespread impact and the strong connection between the band and their truly global army of fans. The film also explores the cultural movement Iron Maiden has helped shape and their enduring legacy in both music and fan culture, challenging common perceptions of the wider significance of rock music and heavy metal.”
Iron Maiden formed in East London in 1975 and helped spearhead a resurgent wave of British metal on their way to selling more than 100 million records worldwide thanks to such hard-charging hit singles as “Run to the Hills,” “The Number of the Beast,” “Aces High,” “Flight of Icarus,” “The Trooper” and “Hallowed Be Thy Name.”
“We’re thrilled Iron Maiden have entrusted us to bring their legacy to cinemas around the world,” said Universal Pictures Content group executive vice president Helen Parker. “Working closely with the band and their passionate fans has been an unrivalled experience allowing us to tell their story in a unique way and celebrate their incomparable fearless creativity in their 50th anniversary year.” The film will be produced by Dominic Freeman (Spirits in the Forest – a Depeche Mode Film), with Parker serving as executive producer.
Iron Maiden will launch their 50th anniversary Run For Your Lives tour in Budapest on May 27, with 32 other dates currently scheduled throughout Europe through August 2.
After a couple years of dating, Normani and DK Metcalf have wedding bells on the horizon. During a Thursday (March 13) press conference following his recent trade from the Seattle Seahawks to the Pittsburgh Stealers, the wide receiver adorably revealed that he and the Fifth Harmony alum are engaged. “Hold that rock up, baby,” he […]
After more than 50 years, Saskatchewan’s Regina Folk Festival is saying goodbye.
The festival’s board of directors released a statement announcing the cancellation of a planned 53rd edition for this summer. The board is instead winding down the festival’s operations, explaining that “economic challenges have become insurmountable.”
The longstanding festival had cancelled its 2024 edition in order to take a regrouping year. Last fall, the festival announced a 2025 edition would go ahead. In the months since, however, the board says it has become clear that it’s not financially possible to hold another event.
“Ongoing financial pressures from the pandemic, including stagnant or reduced funding, rising costs, and declining ticket sales, have created obstacles we can no longer overcome,” says the statement.
The festival is the latest Canadian live arts event to shutter, as the industry faces serious challenges in the wake of the COVID-19 lockdowns. Montreal’s Just For Laughs comedy festival filed for creditor protection last year, while the Vancouver Folk Festival announced it was shutting down in 2023, before the community — and an injection of funding — saved it.
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The Canada Live Music Association’s Hear and Now report, which measures the value of Canada’s live music industry, highlighted that globally, live music didn’t live up to projected performances in 2024.
“The live music sector in Canada has suffered greatly over the last five years and we are not immune,” the Regina Folk Festival (RFF) board states. “According to Festivals and Major Events Canada, it now costs 30% to 40% more than it did in 2019 to organize a comparable event.”
Like many folk festivals, the RFF is a non-profit. The festival has programmed some of Canada’s best-loved and most acclaimed artists, like Joel Plaskett, Alan Doyle and The Halluci Nation.
Emerging artists often get their first gigs at local folk festivals, and the folk festival circuit is a crucial space for like-minded artists to prioritize community and share best practices. But their grassroots nature also means those festivals aren’t necessarily able to withstand financial shocks.
“For 55 years, the Regina Folk Festival has been more than just a celebration of live music; it’s been a highly-anticipated weekend of community building where lasting memories were made,” the Board message concludes. “We look forward to discovering all the beautiful new events that will sprout in its absence. We encourage everyone to support the arts however they can.”
Read more here.
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As Festival Sponsorships Dwindle, Toronto’s Beaches Jazz Festival Calls On Brands To Support Canadian Arts
One of Toronto’s biggest summer music events, Beaches Jazz Festival, is calling on brands to support Canadian arts.
The free music festival draws 800,000 people a year, programming plenty of local and international musicians.
But as big brands increasingly drop their sponsorship of music events, Beaches Jazz Festival is issuing a direct appeal to Canadian businesses: amidst a wave of Canadian cultural nationalism, champion homegrown talent.
“This call goes beyond just Beaches Jazz,” festival founder Lido Chilelli tells Billboard Canada. “It’s a larger conversation about ensuring that Canada’s cultural events remain strong and independent.”
Even with government funding, festivals often rely on corporate sponsors to operate at a large scale. As the Globe and Mail reports, TD has recently pulled out of sponsoring some of the country’s biggest jazz festivals, including Toronto Jazz Fest and Calgary’s JazzYYC Summer Festival. In January, Vancouver International Jazz Festival, which also recently lost its title sponsor, put out a concerned call for donations.
Chilelli says that Beaches Jazz Festival typically sees strong interest from sponsors early in the year, but conversations have been slower this time around.
“We want companies to recognize that the Beaches Jazz Festival is more than just music — it’s a cultural event that brings communities together, drives tourism and significantly boosts the local economy,” Chilelli explains. “It’s an investment in community and culture.”
Chilelli points out that in a crowded digital landscape, it should be valuable to sponsor events that still provide in-person connection. Without brand sponsorship, though, festivals like Beaches Jazz aren’t able to program as many artists, leading to reduced opportunity for local arts.
Beaches Jazz Festival returns July 4-27, 2025.
Read more here.
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Artists Boycott East Coast Music Awards Following Departure of CEO
At the end of February, the East Coast Music Association announced the nominees for the 2025 ECMA Awards, but it almost immediately faced controversy.
Many prominent nominees have declared that they are withdrawing their nominations following controversy over the recent replacement of former CEO Blanche Israël.
That list includes acclaimed singer-songwriter Mo Kenney, nominated for rock/alternative release of the year, for “Evening Dreams.”
Explaining the move on Instagram, Kenney stated “I was nominated for an ECMA, but I am withdrawing and I will not be attending the conference. I do not agree with the lack of transparency around the sudden firing of former CEO [Blanche Israël], and what I would call essentially online bullying leading up to the firing. Much love and please do better @ecmaofficial.”
Others declining their nominations and boycotting the ECMAs include Indigenous rapper Wolf Castle, New Brunswick rapper Stephen Hero and Outside Music head Evan Newman.
Along with Classified, Juno and Polaris Prize winner Jeremy Dutcher had earned the most ECMA nominations, but he has withdrawn all eight nominations from the East Coast Music Awards in solidarity with other musicians who are boycotting the event.
“We need more than an award show on the East Coast,” Dutcher told CBC. “I hope this is a message to all other arts organizations that when we take on consultation with communities of artists, the artists might actually start to care about what happens … and they might start to get invested.”
A statement from the East Coast Music Association reads, in part: “We recognize that some have chosen to decline their nominations, and we respect their personal decisions. We also acknowledge the concerns that have been shared and remain committed to listening, learning, and fostering open conversations.”
The ECMAs will take place in St. John, Newfoundland, on May 8.
Read more here.
JD Vance is certainly getting things done. In the middle of February, the vice president went to Munich to tell Europeans to stop isolating far-right parties, just after speaking at the Paris AI Action Summit, where he warned against strict government regulation. Talk about not knowing an audience: It would be hard to offend more Europeans in less time without kvetching about their vacation time.
This week, my colleague Kristin Robinson wrote a very smart column about what Vance’s — and presumably the Trump administration’s — reluctance to regulate AI might mean for copyright law in the U.S. Both copyright and AI are global issues, of course, so it’s worth noting that efforts by Silicon Valley to keep the Internet unregulated — not only in terms of copyright, but also in terms of privacy and competition law — often run aground in Europe. Vance, like Elon Musk, may simply resent that U.S. technology companies have to follow European laws when they do business there. If he wants to change that dynamic, though, he needs to start by assuring Europeans that the U.S. can regulate its own businesses — not tell them outright that it doesn’t want to do so.
Silicon Valley sees technology as an irresistible force but lawmakers in Brussels, who see privacy and authors’ rights as fundamental to society, have proven to be an immovable object. (Like Nate Dogg and Warren G, they have to regulate.) When they collide, as they have every few years for the past quarter-century, they release massive amounts of energy, in the form of absurd overstatements, and then each give a little ground. (Remember all the claims about how the European data-protection regulation would complicate the Web, or how the 2019 copyright directive would “break the internet?” Turns out it works fine.) In the end, these EU laws often become default global regulations, because it’s easier to run platforms the same way everywhere. And while all of them are pretty complicated, they tend to work reasonably well.
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Like many politicians, Vance seems to see the development of AI as a race that one side can somehow win, to its sole benefit. Maybe. On a consumer level, though, online technology tends to emerge gradually and spread globally, and the winners are often companies that use their other products to become default standards. (The losers are often companies that employ more people and pay more taxes, which in politics isn’t so great.) Let’s face it: The best search engine is often the one on your phone; the best map system is whatever’s best integrated into the device you’re using. To the extent that policymakers see this as a race, does winning mean simply developing the best AI, even if it ends up turning into AM or Skynet? Or does winning mean developing AI technology that can create jobs as well as destroy them?
Much of this debate goes far beyond the scope of copyright — let alone the music business — and it’s humbling to consider the prospect of creating rules for something that’s smarter than humans. That’s an important distinction. While developing AI technology before other countries may be a national security issue that justifies a moon-shot urgency, that has nothing to do with allowing software to ingest Blue Öyster Cult songs without a license. Software algorithms are already creating works of art, and they will inevitably continue to do so. But let’s not relax copyright law out of a fear of needing to stay ahead of the Chinese.
Vance didn’t specifically mention copyright — the closest he got to the subject of content was saying “we feel strongly that AI must remain free from ideological bias.” But he did criticize European privacy regulations, which he said require “paying endless legal compliance costs or otherwise risking massive fines.” If there’s another way to protect individual privacy online, though, he didn’t mention it. For that matter, it’s hard to imagine a way to ensure AI remains free from bias without some kind of regulatory regime. Can Congress write and pass a fair and reasonable law to do that? Or will this depend on the same Europeans that Vance just made fun of?
That brings us back to copyright. In the Anglo-American world, including the U.S., copyright is essentially a commercial right, akin to a property right protected by statute. That right, like most, has some exceptions, most relevant fair use. The equivalent under the French civil law tradition is authors’ rights — droit d’auteur — which is more of a fundamental right. (I’m vastly oversimplifying this.) So what seems in the U.S. to be a debate about property rights is in most of the EU more of an issue of human rights. Governments have no choice but to protect them.
There’s going to be a similar debate about privacy. AI algorithms may soon be able to identify and find or deduce information about individuals that they would not choose to share. In some cases, such as security, this might be a good thing. In most, however, it has the potential to be awful: It’s one thing to use AI and databases to identify criminals, quite another to find people who might practice a certain religion or want to buy jeans. The U.S. may not have a problem with that, if people are out in public, but European countries will. As with Napster so many years ago, the relatively small music business could offer an advance look at what will become very important issues.
Inevitably, with the Trump administration, everything comes down to winning — more specifically getting the better end of the deal. At some point, AI will become just another commercial issue, and U.S. companies will only have access to foreign markets if they comply with the laws there. Vance wants to loosen them, which is fair enough. But this won’t help the U.S. — just one particular business in it. And Europeans will push back — as they should.
CNN is denying accusations from Sean “Diddy” Combs’ attorneys that the network altered and then destroyed the infamous 2016 surveillance video of him assaulting his former girlfriend Cassie Ventura.
In court filings Thursday, attorneys for the indicted hip-hop mogul leveled a bombshell accusation: that CNN “substantially altered” the footage in “significant respects” and then destroyed the original copy, even though they knew about the criminal investigation into Diddy.
But in a statement just hours later, CNN flatly rejected the claim: “CNN never altered the video and did not destroy the original copy of the footage, which was retained by the source. CNN aired the story about the video several months before Combs was arrested.”
Thursday’s dispute is significant because Diddy’s attorneys will cite CNN’s alleged mishandling as a reason for the footage to be excluded from the upcoming trial, potentially depriving prosecutors of a visceral piece of evidence to present to jurors. In the filing, Combs’ team confirmed that they would make such arguments would be covered in a upcoming motion.
Combs was indicted in September, charged with running a sprawling criminal operation aimed at satisfying his need for “sexual gratification.” The case centers on elaborate “freak off” parties in which Combs and others would allegedly ply victims with drugs and then coerce them into having sex, as well as on alleged acts of violence to keep victims silent.
A trial is currently set to start on May 5. If convicted on all of the charges, Combs faces a potential life prison sentence.
The Cassie video, which aired on CNN in May, showed Combs striking his then-girlfriend in the hallway of a Los Angeles hotel in 2016. The clip drew far more attention to the accusations against the star, and prompted an apology from Combs shortly after it aired.
“My behavior on that video is inexcusable,” Combs said at the time. “I take full responsibility for my actions in that video. I was disgusted then when I did it. I’m disgusted now. I went and I sought out professional help. I got into going to therapy, going to rehab. I had to ask God for his mercy and grace. I’m so sorry.”
In the months leading up to trial, attorneys for the star have repeatedly targeted the tape in pre-trial motions, including previously claiming that federal authorities had improperly leaked it to the press to “taint the jury pool.” Prosecutors sharply denied that charge, arguing that Combs was using such claims to in an effort to “suppress a damning piece of evidence.”
In Thursday’s court filing, Diddy’s lawyers said that subpoenas to CNN had proven that the video had been altered, including “covering the time stamp, “changing the video sequence” and “speeding up the video to make it falsely appear that the actions in the video are taking place faster than they are.” As a result of the changes, the clips “do not fairly and accurately depict the events in question.”
In the same filing, the Combs legal team also argued that CNN had “purchased the only known copy” of the footage, uploaded into their systems, and then “destroyed the original footage.”
In a statement to Billboard on Friday, Cassie’s attorney Douglas Wigdor criticized Diddy over the filings: “It is not surprising that Combs would make a disingenuous argument to exclude the disturbing video from being shown to the jury in the upcoming trial. I am confident that the video fairly and accurately represents what happened, will be admitted into evidence, and that Combs will be held accountable for his depravity.”
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Moses “Shyne” Barrow, who found fame as a rapper as part of Sean “Diddy” Combs’ Bad Boy Records empire, moved to a life of politics in his native homeland of Belize. After an election against a fellow party member, Shyne lost his reelection bid to remain as a member of Belize’s House of Representatives.
Moses Barrow has served as a member of the Belize United Democratic Party (UDP) in the nation’s House of Representatives after winning the election in 2020 and held the Mesopotamia seat in Belize City. As reported by local outlet Channel 5 Belize, Barrow, 46, was unseated by fellow UDP member and businessman Lee Mark Chang.
Shyne conceded defeat in a statement and supported voters in their decision to go in another direction.
From Channel 5 Belize:
Upon his defeat, Barrow addressed the outcome, stating, “The people have spoken; congratulations to Lee Mark Chang—he’s now the new area representative of Mesopotamia, and I wish him well.” He added that the voter turnout was a clear reflection of the public’s sentiment. “I was confident; that was the interaction I was having with the people, but they made a decision to go in another direction, and I respect that,” he said.
Shyne added that he will no longer serve as the Leader of the Opposition and will not seek any political maneuvering to stay in some form of power.
“I certainly will resign effective once we have a national convention to elect a new leader. Obviously you can’t be a leader of the United Democratic Party once you’re not a member of the House, and I would not want to be appointed as a senator or anything to hold on to the leadership. The people have spoken here,” Barrow said after being questioned on his next moves.
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Photo: Getty
While fans are savoring Playboi Carti’s long-awaited release, MUSIC, one artist isn’t necessarily too fond of the new album. On Friday morning (March 14), Ye (formerly known as Kanye West) shared his thoughts on Kendrick Lamar’s heavy involvement on Carti’s 30-track effort.
“I DON’T LIKE KENDRICK LAMARS MUSIC,” an exacerbated Ye posted on X. “HE RAPS VERY GOOD BUT I DIDNT NEED TO HEAR HIM ON CARTI ALBUM.”
Billboard reached out to Playboi Carti and Kendrick Lamar’s reps for comment.
Ye’s targeted post of Lamar comes a month after he said that the Compton rapper was the only one who could beat him in a rap battle. “If you rap against Kendrick, you will lose,” Ye said during his interview with Justin LaBoy on The Download. “This man does this. You know, in Street Fighter, you get Chun-Li, you get a certain kick, and no matter what, you can’t beat that thing?”
Continued Ye, who has faced ongoing backlash for his hate speech: “If you rap against Kendrick Lamar, like Joe Budden said, ‘Never rap against Kendrick Lamar.’ If you rap against Kendrick Lamar, it’s a difficult task, but perhaps it’s something … I’m a psycho genius, so you know, it could be.”
Carti’s colossal release includes three Lamar appearances. The newly formed tandem teamed up on “Good Credit,” “Mojo Jojo” and the Ye-produced song “Backdoor.” For Carti, MUSIC marks his return after a five-year layoff after his seminal 2020 album Whole Lotta Red debuted at No. 1 on the Billboard 200, with 100,000 equivalent album units, marking his first-ever chart-topper.
Aside from K. Dot’s trio of assists, MUSIC features a stacked lineup of hip-hop heavyweights including Future, Travis Scott, The Weeknd, Lil Uzi Vert and more. Fans experienced delays after a promised midnight release from the self-proclaimed King Vamp. After missing out on the initial 12 a.m. ET drop, Cardi vowed the album would come out at 3 a.m. ET, but it arrived closer to 4.
For Carti, MUSIC, is shaping up to be a well-timed release. He’ll quickly get the ball rolling with his headlining performance at Rolling Loud California this weekend. Shortly after, Carti will embark on a stadium tour with The Weeknd, where he’ll serve as his opener.
Gene Simmons can rock n’ roll all night and deliver the weather forecast the next day. On Thursday (March 13), the KISS frontman hilariously took over Los Angeles meteorologist Adam Krueger’s weekend report on Fox 11 — and it was truly chaotic from start to finish.
Wearing a denim shirt, sunglasses and a black cap, Simmons began by asserting he knows “quite a lot” about weather. He also landed a backhanded compliment toward Krueger — “You look much better in real life than you do on TV” — before pointing out regions on a map of Southern California and nonchalantly reading off the weather patterns crossing through.
At one point, Simmons pushed Krueger away so as not to block the graphics behind them before reading out the warm temperatures local viewers would experience over the next few days. Krueger then went in for a play on KISS’ Billboard Hot 100 hit “Rock and Roll All Nite,” saying, “This weekend, I’m thinking, it’s looking pretty good. If people want to rock and roll all night …?”
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“They should party every day,” Simmons finished.
Another hilarious moment came when Krueger tried to signify the end of the segment by giving the rock star a fist bump, prompting Simmons to ask, “Are you kicking me out?”
“You don’t have the thing in my ear where they’re saying wrap, so I gotta wrap,” Krueger responded, leading Simmons to start freestyling some bars.
“Rap? ‘You go to 7-Eleven/ Go to heaven …,” Simmons spit, doing a little dance.
After the broadcast, Krueger shared some behind the scenes photos with the rock legend on Instagram and wrote, “Do weather with @genesimmons” along with a checkmark emoji.
Krueger is known for creating viral weather moments by incorporating popular music into his presentations. Last year, he turned heads by using lyrics from Kendrick Lamar’s “Not Like Us” while delivering a Houston forecast, telling viewers, “If you wanna pass on this heat like John Stockton, you can go into the Northwest where there’s 60s and 70s for highs today.”
“So again, we got temperatures in the 90s, but it’s going to feel hotter for several days … Wop, wop, wop, wop!” he continued at the time. “This is not a major cold front. In fact, the general rule this time of year if it’s June and we’re talking about a cold front, it’s probably a minor.”
Krueger’s has also recently paid homage to Doechii, Tyler, the Creator and Travis Scott.
Simmons has also previously tried his hand at meteorology. In September, he joined KTLA 5 Morning News and hilariously pushed resident weatherman Henry DiCarlo aside to take over that week’s weather report.
Watch Simmons make his weather report above.
Grammy-winning MC Jay Rock was arrested in Watts, Los Angeles on Thursday night (March 13) for felony firearm possession and trespassing. According to NBC 4, the rapper born Johnny Reed McKinzie, 39, was taken into custody around 6 p.m. in Nickerson Gardens on charges of trespassing and drinking in public.
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At press time a spokesperson for the LAPD had not returned Billboard‘s request for comment on the arrest and it did not appear that Rock had commented on the arrest on his socials; a spokesperson for the rapper had not returned a request for comment at press time.
ABC 7 reported that after police stopped Rock for trespassing in Nickerson Gardens — the largest public housing complex in Los Angeles and the place where Rock grew up — he reportedly tried to flee his vehicle when the arresting officers would not tell him why he was being detained. Police then reportedly found a firearm in the car, which led to a booking on suspicion of felony weapons violation.
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Los Angeles Sheriff’s Department records confirm that Rock was arrested on Thursday, with no information available at press time about whether he had posted bond and was released from custody or when he is due in court on the charge.
Rock is longtime member of the Top Dawg Entertainment family and was a member of the now-defunct Black Hippy crew, which included Kendrick Lamar, ScHoolboy Q and Ab-Soul. He released his debut album, Follow Me Home, in 2011, followed by 90059 in 2015 and Redemption in 2018. One of the tracks from the latter, “King’s Dead,” featuring Lamar, Future and James Blake, was included on the Black Panther: The Album soundtrack collection and won a best rap performance award at the 2019 Grammys; the song peaked at No. 21 on the Billboard Hot 100 chart.
The rapper appeared alongside fellow TDE family members SZA, ScHoolboy Q, Doechii, Isaiah Rashad, SiR, Ab-Soul and Ray Vaughn at December’s 11th annual Christmas concert, toy drive and community giveback.
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Source: Konami / NeoBards Entertainment / Silent Hill ƒ
Silent Hill as a franchise has been in limbo for quite some time after Hideo Kojima’s Silent Hills was canceled by Konami in 2015. The survival horror franchise is enjoying new life thanks to the exceptional Silent Hill 2 remake and now we have our first look at Silent Hill ƒ.
Silent Hill ƒ marks the first new entry in the iconic survival horror franchise in quite some time. This entry is taking the scares and all of the horror out of the town of Silent Hill and transporting players to 1960s Japan for what Konami for an experience that Konami describes as an “eerie and haunting world where horror and psychological tension intertwine in an unforgettable narrative experience to find beauty in terror.”
Motoi Okamoto Assembled A Dream Team To Bring This Beautiful Nightmare To Gamers
Source: Konami / NeoBards Entertainment / Silent Hill f
Producer Motoi Okamoto is leading this project, which follows the highly successful Silent Hill 2 remake, which made our list of the best games of 2024.
Okamoto aims to revitalize the franchise by reimagining Silent Hill, which is taking its beloved psychological horror to its first-ever Japanese setting. It brings with it all of the elements fans of the Silent Hill franchise have come to love, combining them with the distinctive aesthetic of Japanese folklore and fear.
Okamoto works with acclaimed writer Ryukishi07, artist kera, and legendary composers Akira Yamaoka and Kensuke Inage to bring this new beautiful nightmare to consoles and PC.
The official synopsis for the game reads:
Find the beauty in terror in this new Japanese psychological horror. When Shimizu Hinako’s secluded town of Ebisugaoka is consumed by a sudden fog, her once-familiar home becomes a haunting nightmare.
As the town falls silent and the fog thickens, Hinako must navigate the twisted paths of Ebisugaoka, solving complex puzzles and confronting grotesque monsters to survive. Immerse yourself into Hinako’s world as imagined by renowned author Ryukishi07, with entrancing soundscapes by Akira Yamaoka and beautiful visuals in a gripping tale of doubt, regret, and inescapable choices.
Will Hinako embrace the beauty hidden within terror, or succumb to the madness that lies ahead? Discover a new chapter in the SILENT HILL series, blending psychological horror with a haunting Japanese setting.
Source: Konami / NeoBards Entertainment / Silent Hill ƒ
When Is Silent Hill ƒ Dropping?
There is no release date for Silent Hill ƒ, but you can wishlist the game on PlayStation 5 and Xbox Series X|S consoles or on PC via Steam, Microsoft Store, and the Epic Games Store.
According to PlayStation Lifestyle, Silent Hill ƒ will be a PS5 Pro Enhanced title.
We look forward to working our nerves while playing this one, and other gamers feel the same excitement combined with dread.
You can see those reactions plus more screenshots in the gallery below.
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