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Thursday 27th May 2021
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PlayStation has revealed its strategy to growing its share of the console games market.
The firm believes PS5 will exceed the performance of the hugely successful PS4 due to continued loyalty to the PlayStation brand, a growing audience of female gamers, and expansion outside of North America, Europe and Japan.
As part of the firm’s IR Day, PlayStation boss Jim Ryan also detailed new growth opportunities around launching games on other platforms, expanding its PlayStation Studios line-up, cloud gaming and VR.
After highlighting the growth PlayStation saw during 2020, including its record-breaking 7.8 million launch year shipments of PS5, the firm says it hopes to achieved over 50% market share in console games revenue with PS5. Quoting IDG figures, the company expects the overall console games market to grow to $88 billion in 2025.
The firm revealed that the age of its gamers were older on PS4 and PS5 than on the original PS1, which it believes shows that its audience has stuck with it over the generations. One of the more interesting statistics is that 41% of PS5 owners are women, compared with just 18% on PS1. The firm also showed that in the year 2000 just 1% of its revenue came from outside of the US, Japan and North America. That grew to 5% by 2010, and now currently sits at 10%. PlayStation views markets like South America, Africa, India, China, Eastern Europe and Russia as key growth opportunities.
In a separate slide, the business revealed that the standard edition PS5 should become profitable from next month when the cost of goods is expected to fall below the wholesale price. There was no mention of the digital version of the console, but even so, the hardware part of PlayStation’s business has become less important over time. In the 2013 financial year, 48% of PlayStation’s revenue came from consoles (compared with 52% for software, services and peripherals), whereas in the latest financial year, that number sits at just 20%, with 80% of revenue coming from software, services and add-on products.
Looking ahead, Sony says that it expects its next financial year to be the biggest ‘year two’ for a console it’s ever had, exceeding the 14.8 million sales achieved by PS4 in its second year. For its 2022 financial year, the aim is to have the biggest sales year for a PlayStation console. The current record is from its 1998 financial year, when it sold 22.6 million PS1 consoles.
In terms of engagement, which is an increasingly important metric for console makers, PS5 has got off to a strong start. Sony says that PS5 had 8.6 million monthly active users in March 2021, vs 7.1 million for PS4. The reason the PS5 active user number is higher than the install base figure is due to multiple unique PS5 accounts on a single device.
Overall, games spend on PS5 has increased by 15% between November 2020 and March 2021, compared with the same period on PS4 when that launched back in 2013. Sales of full games have dropped 15%, but add-on sales have increased by 231%. A key difference between the two PS5 and PS4 launch periods are the number of games that can be accessed via the firm’s PlayStation Plus and PlayStation Now subscription services.
One of the big conversations in games right now is what happens post-pandemic. Over the past 18 months, video game sales and engagement have increased exponentially for publishers and developers in the business. This has included new customers coming into the console ecosystem for the first time, and lapsed players returning. As vaccines get rolled out and the world opens up, it is inevitable there will be some decline in the time spent gaming, but it’s not clear by just how much.
Sony showed a slide that revealed that as vaccines have begun rolling out and COVID cases have dropped in North America, the decline in weekly active users has been just 3.3%. Meanwhile in Germany, that number sits at 5.3%.
The presentation wasn’t all about PS5, with Sony also detailing its plans to make sure PS4 has its ‘strongest ever tail’.
The firm said that in its next financial year, it still expects PS4 to represent 70% of its PlayStation Store revenue (vs 95% in FY2020). A big part of that will be in terms of free-to-play games. In its 2016 financial year, 5% of its PlayStation Store revenue came from free-to-play titles, while in FY2020 that now sits at over 25%, driven by the launch of Fortnite, Call of Duty: Warzone, Apex Legends, Rocket League and Genshin Impact.
Sony reminds us that 48 million people are subscribed to PlayStation Plus (the vast majority on PS4). 40% of people who subscribe are doing so for online multiplayer, 30% to receive monthly free games, 18% for game discounts and offers and 12% for cloud storage of game saves.
Sony concluded its presentation by looking at the potential growth areas for the company.
The firm’s PS5 launch in China is a major focus, with investment in local teams and ‘significant pre-order allocation’ already sold out. Sony says it expects PS5 momentum to be double that of the PS4 generation.
Another growth area is the PlayStation Direct retail store, which Sony describes as its ‘direct hardware distribution channel’. The store grew to over $200 million in net sales during the last financial year, and the company expects that to triple over the next 12 months. That store is currently only available in the US, with plans to roll it out to the UK, France, Germany, Netherlands, Luxembourg, Ireland and Belgium over the next 12 months.
In terms of first-party games, Sony reiterates its plans to expand its studios operation through strategic partnerships, internal expansion and acquisitions. In the presentation, the firm highlighted its recent partnerships with Jade Raymond’s Haven team and multiplayer developer Firewalk Studios.
It’s not all about PlayStation, either. Sony says that Horizon: Zero Dawn’s PC launch delivered a return-on-investment over more than 250% and allowed them to reach audiences in new markets such as China, Russia and India. The company has more PC releases planned, including the recent launch of Days Gone and Uncharted 4. Meanwhile, smartphones are another area targeted by the PlayStation Studios portfolio.
“Horizon: Zero Dawn’s PC launch delivered a return-on-investment over more than 250%”
Sony is best-known today for its single-player story experiences, but in the presentation it states a planned expansion into service-based gaming. It highlighted MLB: The Show as a good example, which has the highest paid user spend of any sports title on the US PlayStation Store (as of March 2021). The game has also became a multiplatform IP, with a version launched on Xbox. PlayStation’s studios will develop more ‘service-led experiences’, and they will be available both on and off console, the firm said.
Going beyond console is a key opportunity for PlayStation. In one slide, the firm said it wants to transform its ‘current console-centric ecosystem to a future where large elements of our community extend beyond the console’.
Cloud gaming may be one such opportunity. The firm’s PlayStation Now subscription platform currently boasts 3.2 million users. PlayStation Now is both a download and streaming platform, and in October 2019 the service was improved with new games, a price reduction and other quality of life improvements. This saw the service become predominantly used for downloading, with streaming playtime dropping to just over 20%. However, things have grown since, with that number increasing to 40% in March 2021.
PlayStation expects its cloud service to continue growing as it adds more games, improves the technology and develops new user acquisition strategies, such as its $1 for one month promotion.
The final growth area for PlayStation is with VR. During the presentation, the company reiterated the technical enhancements it is making with its next VR headset, although didn’t make any predictions.
You can check out the full presentation right here.
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Anbernic may be developing a Windows handheld gaming PC – Liliputing
Anbernic is a Chinese company that makes handheld gaming devices, most of which are powered by Android or Linux software and designed for retro gaming. But it looks like the company may be developing its first handheld gaming PC that runs Windows.
That could make the new device an option for gamers looking to play modern PC games, although the new model will also probably be Anbernic’s most expensive system to date – most of the company’s current devices tend to sell for between $50 and $250.
Anbernic hasn’t officially announced the new Windows handheld, but a set of pictures included in a recent patent application make it pretty clear that the device is designed to run Windows.
Like many handheld game consoles, it has a display surrounded by dual analog sticks, a D-Pad, action buttons, start and select keys, and four shoulder buttons/triggers. There’s also a home key on one side, and a Windows key on the other, which will likely function as a Start Key.
On the left side of the device there’s also a switch that lets you toggle between game controller and mouse modes, a feature we’ve seen on some other Windows-powered handhelds, which makes Windows a little easier to navigate on devices without a mouse or physical keyboard. This will most likely let you move a cursor with an analog stick while using action buttons for left and right-click actions.
Other features appear to include a USB Type-A port, what may be a USB Type-C port, stereo speakers, and a 3.5mm headphone jack as well as what looks like a microphone.
There’s no word on the specs or pricing, but it seems like a safe bet that a Windows-powered handheld will have a more expensive processor than most of Anbernic’s systems to date, which will drive up the price tag accordingly.
If and when Anbernic’s Windows-powered handheld comes to market, it will join an increasingly crowded space that’s currently dominated by small Chinese companies like GPD, One Netbook, and AYA as well as the upcoming Valve Steam Deck (which will ship with the Linux-based Steam OS, but which has all the hardware necessary for Windows gaming if anyone feels the urge to replace the operating system).
via DroiX, Taki Udon, and /r/Anbernic
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What are they trying to patent? Buttons and switches where your hand will be gripping and more prone to accidentally activating (ie. bad idea)?
Also, if their handheld looks like this, how are they expecting to compete with the other Chinese handhelds (let alone the Steam Deck)? Price? The bar handhelds are all pretty much the same with different tweaks here and there.
At this rate, I feel like whatever part of the market the Deck isn’t able to capture will just be shared equally among the rest of these small companies.
Now more manufacturers in the game, waiting for Alienware and Razer to join this party, they had UFO and Switchblade concepts in the past
I feel a tiny bit sorry for GPD – after years of being the “only game in town”, now they have competitors coming out of the woodwork!
Still, it seems like good news for everyone else!
If it’s pocketable, then I’d get it. Otherwise, if I’m getting a non-pocketable slab/bar PC handheld, then it’s only the Steam Deck for me.
Judging from the USB Type-A port, this thing’s pretty large. It’s not any more pocketable than the other slabs so pass. The Steam Deck it is.
Waiting for a hologram of Roseanne Barr to explain the meaning of the device’s name to me.
🙂 Close enough to Ambergris
🙂 Close enough to Ambergris
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Media campaigns praised for 'making a difference' – Arab News
DUBAI: Media campaigns for some of the world’s biggest brands have been praised for their effectiveness, insight and innovation as part of marketing intelligence firm WARC’s 2021 media awards.
The global awards program, now in its sixth year, rewards communications planning that has made a positive impact on business results. The awards examine the insight, strategy and analytics that influence effective media investment.
This year, the awards saw 56 campaigns win across diverse markets and product categories for global brands including adidas, L’Oreal, McDonald’s, Nespresso and TikTok, and local brands such as Change The Ref in the US, Claro in Chile, NHS England, Omroep Zwart in the Netherlands and Yili in China.
Four juries — one for each category — made up of of experts from both the agency and client-side awarded four grand prix trophies, 10 golds, 17 silvers, 25 bronzes and 12 special awards for specific areas of excellence.
Overall, the UK led with eight wins. China, Germany, the US and Vietnam won four awards each, followed by Canada, which scored three wins. India, Malaysia and New Zealand, each won two awards, and Chile, Egypt, Israel, Lebanon, Netherlands, Philippines, Puerto Rico, Sri Lanka, Turkey and the UAE each won one award.
In the effective channel integration category, PHD Canada won the grand prix and path-to-purchase award for “Vacation Intervention,” which saw Air Transat convince 75,000 workers not to lose their unused vacation days, with nearly 50 percent of reservations coming from new clients.
“Travel brands tend to be very lower-funnel and promo-led, especially in the lead-up to big holiday seasons. ‘Vacation Intervention’ went the other way with a strong insight, a very interesting central idea and a multi-channel campaign that was fun, topical and successful,” said jury member Ronnie Thomas, group director of global business development Publicis Groupe.
The POE award, which looks at how a strategy successfully linked paid, owned and earned media, and a gold went to FP7 McCann Dubai for “A Dad’s Job” for Home Center. The effective cross-channel measurement award and a silver went to MediaCom’s global campaign “PS5 — 2020’s biggest entertainment launch” for gaming console Sony PlayStation.
Havas Sports & Entertainment won the grand prix for French welfare association L’Enfant Bleu in the effective use of tech category.
The winning campaign “Undercover Avatar” saw the agency create an in-game confidante to enable children to speak out about abuse. The activity generated 700 million media impressions and resulted in the French government working on solutions that will turn video games into a new way to identify abused children.
“Leveraging a native behavior (and interest) in a smart way — a really powerful way to do things purposefully different,” said judge Luca Vergano, vice president of strategy at Elephant.
The initiative also won two special awards: Most scalable idea and platform pioneer.
MullenLowe US won the special award, the early adopter, and a gold for “Ring King” for Burger King.
In the effective use of partnerships and sponsorships category, McCann Paris and FP7 McCann Dubai won the grand prix and effective native award for Lebanese Breast Cancer Foundation for “The Bread Exam.”
The nonprofit collaborated with a traditional baker to create a bread-making video demonstrating how to self-examine. The campaign reached 112 million people, and in nine months increased awareness by 83 percent and screenings by 41 percent.
“They identified breast cancer as something that is difficult to talk about in culture, but managed to make it part of the conversation through the topic of bread making, something that is an integral part of the culture,” said judge Faisal Alani, head of partnerships at eBay.
“They tackled the problem in an incredibly thoughtful way; it really warmed my heart.”
COPA90 won two special swards — the collaboration with an influencer award for Budweiser’s “Messi X Budweiser 644,” and the successful sponsorship award for “Music Keeps Us Playing” for Pepsi and Pepsi MAX, as well as a silver and bronze, respectively.
In the best use of data category, the grand prix and personalization award went to FCB New Zealand for “Personalizing Danger,” a campaign for Water Safety New Zealand. By combining historical, real-time and future data, the agency built a predictive model to reduce deaths of young men from drowning. The campaign reached 95 percent of its target audience and achieved zero deaths.
“Other entrants are just gathering data. But to actually save lives? If only one life is saved, it’s already a success. This is data put to good use,” said judge Kathrin Jesse, chief strategy officer and partner at Wirz Group, Switzerland.
The data-driven insight award was given to MullenLowe US for Burger King’s “Delay Your Way,” which also won a gold, and the attribution award went to Ekimetrics for “Using Advanced Analytics to Market Profitability in a Pandemic” for hospitality brand Accor, which also won a bronze.
ISTANBUL: A Turkish court has acquitted German journalist Mesale Tolu after years on trial for terror-related charges.
“After 4 years, 8 months and 20 days: Acquitted of both charges!” Tolu tweeted after her acquittal. She was accused of engaging in terror propaganda and being a member of a banned left-wing group — the Marxist-Leninist Communist Party.
Tolu, 38, was placed in pre-trial detention for eight months in 2017. She was later released but was barred from leaving Turkey until August 2018. She lives in Germany.
Before her arrest, Tolu worked as a translator and journalist for the Turkish ETHA news agency.
German-Turkish relations were tense at the time of Tolu’s arrest, when eight other German or German-Turkish citizens were imprisoned. Berlin considered the arrests to be politically motivated.
Reporters Without Borders ranks Turkey at 153 out of 180 countries in its World Press Freedom Index of 2021. At least 34 media employees are currently behind bars, according to Turkey’s Journalists Union.
BEIRUT: Hate-filled, misogynist, and racist tweets have targeted a Sudanese TV anchor following a report on her show that criticized the Lebanese government, including Hezbollah leader Hassan Nasrallah.
The fury targeting Dalia Ahmad came after she described the country’s long-reigning party officials as crocodiles during her show “Fashet Khalq” on Lebanon’s Al-Jadeed news channel.
#DogBreedImprovement was trending in Lebanon in Arabic after vicious tweets sent out by Hezbollah loyalist accounts attacked Ahmad and the color of her skin.
“You’d be sitting under the safety of God when a black dog comes and starts barking, you want to hit it but then it appears not to be a dog but a black female dog from Sudan,” read a tweet from a profile featuring a photo of the slain Iranian military commander Qassem Soleimani.
بتكون قاعد بأمان الله بيجي كلب أسود بصير ينبح بتقوم بدك تضربو بيطلع مش كلب بيطلع كلبة سودا من السودان#تحسين_نسل_الكلب
“May God curse the sperm that settled in the womb of the mother of those who offend you, Mr. Nasrallah #DogBreedImprovement,” read another tweet in Arabic. The account’s profile has the word Hezbollah in Arabic with a yellow heart next to it.
لعنَ الله النُّطفةَ التي إستقّرت في رَحِمِ أمِّ من يُسئ إليك سيدي نصرالله.#تحسين_نسل_الكلب pic.twitter.com/6rNLfxiIYK
Another tweet read: “Without #hizbollah Dalia Ahmed would have been offered for sale in the slave market, along with her ilk, by ISIS.”
“Never in my life have I bullied or criticized the creation of our Lord, but this despicable woman, because her heart and tongue are so black they are reflecting on her ugly and malicious face,” read a tweet from @KassemHala555, which had a black smiley face emoji at the end and two images of Ahmad.
انا بحياتي ما تنمرت ولا بقبل انتقد خلقة ربنا ..
بس هيدي الحقيرة من كتر سواد قلبها ولسانها عاكس على وجها المقرق والخبيث …#تحسين_نسل_الكلب pic.twitter.com/fDRwpPX8TK
“By God, by God, whoever wants to attack the Al-Sayyed (Nasrallah), I want to wipe the ground with them and curse those who gave birth to them,” read another tweet from @KassemHala555, whose profile features the Lebanese and Iranian flags. This tweet had an image of Ahmad with the face of a dog photoshopped over hers.
والله والله يلي بدو يتطاول على السيد بدي امسح الأرض فيه والعن يلي خلفو ..#تحسين_نسل_الكلب pic.twitter.com/zxxEh0eGX1
Journalists loyal to Hezbollah and media representatives also chimed in. Journalist Hosein Mortada, who has more than 494,000 followers, tweeted a picture of Ahmad with the comment: “There are breeds that don’t improve because their genes are unclean from the start.”
His tweet is no longer visible because, according to the platform, it “violated the Twitter Rules.”
There were some who came to the defense of Ahmad, including Emmy-nominated director and writer Lucien Bourjeily who tweeted: “My dears: ‘crocodiles’ is a very nice description. Your leaders are corrupt, scammers, and criminals, and an entire society is being destroyed at their hands! How many are you after defending those who impoverished you, plundered you, and destroyed your lives?”
في مين عم يدافع بشراسة وعنصرية عن زعيمه لأن الاعلامية #داليا_أحمد وصفت ما يسمى ب “زعماء” ب تماسيح.
اعزائي: “تماسيح” وصف كتير لطيف.
زعمائكم فاسدين،نصابين،ومجرمين وفي مجتمع باكمله عم يتدمر على ايديهم!
والكم عين بعد تدافعوا عن يلي فقروكم، نهبوكم، ودمروا حياتكم؟ #كلن_يعني_كلن مورطين pic.twitter.com/I43tFI8c1D
Hezbollah and its loyalists have a record of harassing and attacking female journalists.
In January of last year, Alhurra news anchor Layal Alekhtiar received death threats and was subjected to harassment online after tweeting a video of the unveiling of a Soleimani statue and a line from the Qur’an that said: “What are these statues to which you are so devoted?”
In October 2020, independent journalist Luna Safwan was targeted by Hezbollah in an online abuse campaign after her tweet criticizing the party was carried by an Israeli news channel and she was accused of cooperating with Israel.
Lebanese journalist Maryam Seif Eddine, known for her staunch criticism of Hezbollah despite being Shiite, received death threats from the group while her mother and brother were physically assaulted, with her sibling being left with a broken nose. Party loyalists had targeted her family home in Burj El-Barajneh, in the Hezbollah-dominated southern suburbs of Beirut.
Before that, as the country witnessed mass protests in 2019, former LBC news anchor and Shiite journalist Dima Sadek was subjected to harassment by the group after her phone was stolen from her during a demonstration. The harassment, she said, was followed by insulting and threatening phone calls to her mother, who suffered a stroke as a result of the stress.
MTV reporter Nawal Berry, also a Shiite, suffered violent attacks by supporters of Hezbollah and its allies while covering the early days of the protests. Loyalists smashed her team’s camera, snatched the microphone she was holding, spat on her, and kicked her in the leg.
DUBAI: With more than 200 streaming providers around the globe the number of platforms is proliferating, according to Flixed.
And while the coronavirus pandemic has spurred unprecedented growth in viewership the gradual return to normality has seen a churn in subscribers for many streaming companies.
Netflix, which remains the world leader in the streaming space, last year commanded a 21 percent share of the US subscription video-on-demand market, but with competition increasing, it has been experiencing a slowdown, data analytics firm GlobalData said.
The company’s share of US revenue from subscription streaming video was forecast to shrink to 30.8 percent by the end of 2021, from nearly 50 percent in 2018, according to market researcher eMarketer.
Francesca Gregory, associate analyst in thematic research at GlobalData, said: “Netflix experienced a slow start to 2021, following a light slate of content as pandemic production problems came to the fore.
“Although fresh content in its third quarter boosted subscribers to 214 million, competing platforms are experiencing explosive growth.”
By November, Disney+ had racked up 118 million subscribers, and Amazon Prime had 175 million.
“As the number of streaming platforms increases, and the market approaches peak fragmentation, SVOD platforms will use content portfolios to differentiate themselves,” Gregory added.
For example, Amazon has committed $1 billion to its “The Lord of the Rings” even before an episode has aired, while Netflix was forecast to spend more on original programming than ever before. By 2025, 46.5 percent of its projected $18.92 billion budget will go toward original content, compared with 37.8 percent in 2020, eMarketer said.
Besides content portfolios, companies will have to explore alternative revenue sources.
Gregory said: “We have already started to see Netflix branching out to different areas, with the launch of Netflix Games in November 2021 and a co-streaming partnership with Twitch. I wouldn’t be surprised if the company looked to experiment with more gaming streaming platforms in the future.”
She pointed out that as competition increased during 2022, “reaching different audiences will continue to be a key strategy. Companies that fail to secure a market niche will have a limited shelf life in the crowded SVOD market.”
GAZA CITY: In a Gaza TV studio of the ruling Islamist armed movement Hamas, a set features Israeli flags, Hebrew documents and a portrait of Theodor Herzl, the father of modern Zionism.
The make-believe office of enemy state Israel’s security service is being used to shoot a “pro-resistance” television series on the Israeli-Palestinian conflict.
It is Hamas’s answer to Israeli hit shows such as the special forces drama “Fauda” that have gained millions of viewers on platforms such as Netflix, HBO and Apple TV+.
“Fauda,” which in Arabic means chaos, portrays a military unit led by commander Doron Kavillio that launches raids inside Palestinian territories.
Admitting to having watched “Fauda,” though, is not a good idea in Gaza, the Palestinian coastal enclave blockaded by Israel, said local director Mohammed Soraya.
To watch any Israeli TV series means supporting the “normalization” of relations with the Jewish state, argued Soraya, who is directing Hamas’s own TV series on the conflict.
He charged that such shows “support the Zionist occupation” because their plots “criminalize the Palestinian people,” speaking with AFP in the Gaza City studio.
“We want to flip the equation, to show the Palestinian point of view, to broadcast a drama about the spirit of our resistance.”
Hamas is considered a terrorist organization by Israel, the United States and the European Union. The Islamist group controls the Gaza Strip, an impoverished territory of 2.3 million people.
It also runs the Al-Aqsa channel, and has been investing in series inspired by Hollywood, and by Turkish soap operas that are popular across the Middle East.
The series now in production, “Qabdat Al-Ahrar” (Fist of the Free), revisits a 2018 Israeli operation in the Gaza Strip that resulted in the deaths of seven Hamas fighters and an Israeli officer.
The protagonists are the fighters of Hamas, which has fought four wars against the Jewish state since 2008.
Budgets are meagre, actors’ salaries are low, sets are basic and deadlines are tight, with the production team expected to deliver some 30 episodes by April, in time for the Muslim holy month of Ramadan.
While Israeli series often feature actors from the country’s Arab-Israeli minority, productions in Gaza do not use any Israeli actors.
This forces studios to recruit local actors to play Israelis — a job that, the performers say, can expose them to real-world hostility and danger.
One of them is Jawad Harouda, aged in his early sixties and with a husky voice, who portrays the head of Israel’s Shin Bet domestic security service in the new TV series.
To get into character, Harouda said he “soaked up the script,” but added that being too convincing can lead to trouble.
“Some women look at me and pray that I die,” he said, leaning back in his boss’s chair in the fake Shin Bet office.
“I’m happy when people insult me. It means I’ve succeeded … The actor is a chameleon, he must be able to act out all colors.”
In Gaza productions, Israeli characters speak in Arabic. And, at the request of the Hamas mufti, or Islamic jurist, women wear their headscarves even if they play Jewish characters.
“In one series, I played a Jewish woman,” said one actress, Kamila Fadel, who added that she may have been just a little too convincing for her own good.
“After the series was broadcast, a woman tried to strangle me,” she recounted.
“She told me: ‘I hate you, you are hurting us so much’. On another day a 13-year-old boy threw a stone at my head thinking I was Jewish… This means I played my part well.”
Not everyone is a fan of the Hamas productions, which are firmly focused on the conflict.
“There is no love” in the dramas, argued Palestinian director and critic Jamal Abu Alqumsan, who expressed regret that the rare local productions served primarily as a “tool of resistance.”
Abu Alqumsan said the potential for such productions to tell Palestinians’ stories was huge, but the challenges were many.
“In Gaza, we live under a blockade, it’s a unique situation in the world,” he said, speaking in his art gallery, which he hopes to turn into a small film library.
“So we need producers to invest in quality series and tell the rest of the world our story. We have good actors, they just need good directors and means.”
For now, Abu Alqumsan said he was unsure of the impact such shows would have.
“TV dramas are a weapon, but in the face of Israel, local productions are of a low level,” he said.
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