Todd Martens joined the Los Angeles Times in 2007 and covers a mix of interactive entertainment (video games) and pop music. Previously, Martens reported on the music business for Billboard Magazine. He has contributed to numerous books, including “The Big Lebowski: An Illustrated, Annotated History of the Greatest Cult Film of All Time.” He continues to torture himself by rooting for the Chicago Cubs and, while he likes dogs, he is more of a cat person.
Latest From This Author
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Shine On Collective pivoted from immersive theater to puzzle-box experiences during the pandemic. It’s one example of how gaming is a growing aspect of new theater works.
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For Disney, ending the annual pass program might be “a blessing in disguise,” a theme park expert says: Now the company can revamp the program to boost profits.
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Disneyland and Disney California Adventure are axing their annual pass program as they look to better manage pandemic-era crowds. Pass holders who paid for days beyond the parks’ closure last March are to get refunds.
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Joe Rohde spent four decades with Walt Disney Imagineering. In his exit interview, he talks about lessons learned and what future generations need to know.
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Disney built Galaxy’s Edge as a living theme park land in which guests can role play. That vision is fully realized in an Oculus VR experience we can do at home.
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It has star power (Gal Gadot and Keanu Reeves presented awards), and compared to the Oscars and Emmys, its audience is growing exponentially. Game Awards creator Geoff Keighley weighs what’s next.
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Keanu Reeves couldn’t save the bungled launch of ‘Cyberpunk 2077,’ the year’s most anticipated game. How its rushed release shows the industry at its most cynical.
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Extra lives. Deaths. They’ve long been part of games. But in our COVID-19 year, the games that resonated asked us to rethink how we view the end of of lives.
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In 2020, Disney’s California Adventure and Knott’s tried limited reopenings around COVID-19 restrictions. But can we explore and engage in a pandemic?
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If video games truly want the cultural resonance of film and television, then game studios need to start acting like they’re making art.