Appearances in Other Media
Tomorrow Never Dies was the first of three Bond films to be adapted into books by then-current Bond novelist, Raymond Benson. Benson's version is expanded from the screenplay including additional scenes with Wai Lin and other supporting characters not in the film. The novel traces Carver's background as that of media mogul Lord Roverman's son. Carver blackmails him into suicide and takes over his business. The novel also attempts to merge Benson's series with the films, particularly continuing a middle of the road approach to John Gardner's continuity. Notably it includes a reference to the film version of You Only Live Twice where he states that Bond was lying to Miss Moneypenny when he said he had taken a course in Oriental languages. This was done to counter the scene in Tomorrow Never Dies where Bond is unable to read a Chinese keyboard. But this contradicts Benson's previous book Zero Minus Ten in which Bond is able to speak fluent Cantonese. Tomorrow Never Dies also mentions Felix Leiter, although it states that Felix had worked for Pinkertons Detective Agency which is thus exclusive to the literary series. Subsequent Bond novels by Benson were affected by Tomorrow Never Dies, specifically Bond's weapon of choice being changed from the Walther PPK to the Walther P99. Benson said in an interview that he felt Tomorrow Never Dies was the best of the three novelizations he wrote."
The film was adapted into a third-person shooter PlayStation video game, Tomorrow Never Dies. It was developed by Black Ops and published by Electronic Arts on 16 November 1999. Game Revolution described it as "really just an empty and shallow game", and IGN said it was "mediocre".
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Famous quotes containing the words appearances and/or media:
“The appearances of goodness and merit often meet with a greater reward from the world than goodness and merit themselves.”
—François, Duc De La Rochefoucauld (1613–1680)
“One can describe a landscape in many different words and sentences, but one would not normally cut up a picture of a landscape and rearrange it in different patterns in order to describe it in different ways. Because a photograph is not composed of discrete units strung out in a linear row of meaningful pieces, we do not understand it by looking at one element after another in a set sequence. The photograph is understood in one act of seeing; it is perceived in a gestalt.”
—Joshua Meyrowitz, U.S. educator, media critic. “The Blurring of Public and Private Behaviors,” No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985)