Some video game makers have sold the movie rights for popular games. ████████ ████ ████ ██ ██████ ████ ████ █ ████████ ████████████ █████ ████ ██████████ ████ ███ █████ ██████ ██ ███ ███████ ████ █████████ ███ ███ ██████ ████ ████ ██████████ ██ ███ ████ ███ █████ ██ ███████ ███ ███ ██████ ██████ ██████████ ████████ ██ ███ ████████ █████ █████ ████████ ██████ ████ ███ █████████ ████ ███████
The author concludes that selling the movie rights for popular video games is rarely good for business. He supports this by noting that the film adaptation of Nostroma was hated by critics and audiences, and later versions of the game sold poorly, even though they were better than the original.
This is the cookie-cutter flaw of hasty generalization, where the author draws a broad conclusion based on too little evidence. Here, the author argues that selling the movie rights for video games is usually bad for business, but he only provides one example. Perhaps Nostroma doesn’t accurately reflect most video game movies. Maybe it was just a bad movie, and most video game movies are successful and boost sales.
The reasoning in the argument ██ ████ ██████████ ██ █████████ ██ ████ ███ ████████
draws a general ██████████ ██ ███ █████ ██ ████ ███ ██████████ ████
infers that a ███████ ████ ██ ████████ ██ ███ ██████ ██████ ████ ███ █████ ████ ███ ███████ ███ ████████ ██ ███████
restates as a ██████████ █ █████ ███████ █████████ ██ ████████ ███ ████ ██████████
takes for granted ████ ████████ ████ ███████ ███████ ████ ███ ██ █████████ █████ ████ ██ ██ ███████ █████ ██████████
treats a requirement ███ █ ███████ ██ ██ ███████ ██ █████████ ████ ███████ ████ █ ███████ ████ ██ ███████