The relationship between video games and film has always seemed forced and uncomfortable. Earlier days in video game history saw elements of games (characters, locations) transferred awkwardly to television or film. Just take a look at this old Super Mario Bros Super Show television show from the 80s and shudder.
The Super Mario Bros Super Show followed the same format in each episode: the show opened with actors portraying the characters of Mario and Luigi who ran a plumbing business in New York and were visited by guests (80s celebrities, Santa Claus...). This was followed by an animation of a Super Mario story. The show had surprising durability (65 episodes), which would not be possible in these more modern times. Because video games were still fairly basic in terms of narrative and structure at that time, shows like the Super Mario Bros Super Show had a lot of leeway to do their own thing (like... rapping). | |
The animation aside, this show was a lazy imitation of a few recognisable aspects in Super Mario, and little else. Over the years, there have been numerous similar attempts to find the ways in which the formula can work between these contrasting mediums. After all, enjoying film/television involves passive audience interaction, whilst video games demand active participation. Here are some examples where film and video games have attempted to cross these boundaries. Some have worked, some have failed.
Movie Tie-Ins
'Movie tie-in' games aim to provide a playable version of cinematic releases at the time they are produced. In the past, these games have littered the shelves of game shops, constantly replaced by newer blockbuster instalments. Due to the sporadic nature of film releases, developers were often rushed to release games around the same time the cinematic version hit cinemas, which often affected the quality of the game. However, Spiderman 2 for PS2, Xbox and GameCube received positive critical acclaim, and is still well-spoken of, 10 years since its initial release. A regular occurrence amongst movie tie-ins were the intermediary levels that filled the gaps between cinematic cut-scenes, usually involving uninspired platformers that dragged out sections of the a film that did not require that level of recognition.
Today, movie tie-ins don't seem to hold the status they once did amongst game retailers. An example of this is found in Nolan's Dark Knight trilogy. When Batman Begins was released in 2005, it was followed by a corresponding video game with the same title. Between releases of the second (The Dark Knight, 2008) and third (The Dark Knight Rises, 2012), another Batman franchise Arkham Asylum (2009) was released which stood apart from the trilogy in terms of narrative, and stayed loyal to the comic books from which Batman originates. As mentioned within a previous article ("Holy Identity Crisis, Batman!"), there are certainly aspects of the Nolan films that seeped into the Arkham Asylum franchise, surfacing mainly in the optional downloadable content. A Dark Knight Rises mobile app game was created for the final film, but no tie-ins surfaced on any major console. The decline in success of these movie tie-ins that spanned the trilogy's time frame between 2005 and 2013 demonstrates the decline of appeal amongst their target market of gamers. I could assume the success of remaining movie tie-ins now lies with parents' rushed purchases during the busy Christmas period.
Videogame Movies
Several attempts have been made to take characters from video games and place them in a cinematic world. An early example from the noughties is Tomb Raider, a game franchise that often delved into mythological backgrounds. Overall, the film received negative reviews, with some fans expressing wishes to have seen a film with the plot of the original Tomb Raider game. Much like the in Super Mario Bros Super Show, it seems there was still a large amount of time on-screen that needed filling. On its video game counterpart, this time was filled by the player exploring and killing enemies. A memorable example from the (again, poorly received) film DOOM was the director's decision to imitate a 'first-person shooter' perspective during one action sequence, an original game-play reference that no doubt ignites an appreciation and familiarity amongst fans of the DOOM series.
Movie Tie-Ins: Prequels/Sequels
Unlike the traditional movie tie-in format mentioned previously, these titles proved more interesting. These were not 'tied in' with the movie at the time of its release, but were often developed long afterwards. These video games played a more active role than simply imitating scenes from the film. The Warriors game, developed by Rockstar Games (responsible for Grand Theft Auto), is a prime example of the use of video games to extend the life and success of a popular cult film.
The Warriors (PS2) provided its audience with a closer look at Cleon, a likeable but brief character within the film, as well as providing a back story of how some members of the Warriors originally joined the gang. This narrative insight, combined with the enjoyable game-play helped to create a successful multi-player game where elements of film and video game united to create a work that ventured beyond the original film.
The Warriors (PS2) provided its audience with a closer look at Cleon, a likeable but brief character within the film, as well as providing a back story of how some members of the Warriors originally joined the gang. This narrative insight, combined with the enjoyable game-play helped to create a successful multi-player game where elements of film and video game united to create a work that ventured beyond the original film.
On the flip side, games such as Aliens: Colonial Marines promised to transport players to the universe seen in the films, in a time after the events of 'Alien 3' (the remains of Bishop's torso can be seen within the image).
Despite its hype, the game failed to deliver on the promise of providing further story that could form part of the canonicity overall. Instead it provided only confusion and continuity errors. Unlike in The Warriors, the game-play in Aliens: Colonial Marines has been described amongst critics as 'rushed' and 'not worth its own article'. This game ultimately neglected the important role of story-telling via the interactive nature of video games.
The cinematic video game
With third generation consoles (Xbox 360, PS3), video games lean more towards the cinematic as their capabilities in graphics and roaming narrative have advanced beyond previous limitations. The Last of Us (trailer below) is a perfect example of this cinematic gaming (when a game still costs £40 in shops a year on from its release you can - in most cases - tell it's a game worth playing).
Games like The Last of Us place heavy focus on narrative through each chapter. Players are able to skip through some moments of dialogue, based on the way they decide to play and how much they wish to engage with the environment. In cinematic gaming, the role of active game-play has shifted significantly. Where levels used to progress predominantly through game-play interrupted by narrative cut-scenes, the full narrative is now complimented by short bursts of game-play, the tool used to progress the story forward.
The indie video game short film
The narrative-driven qualities of cinematic video games are also found amongst these film makers who are clearly fans of a video game series. The Brothers Rapture is a short film based on the dystopian adventure in BioShock. This short film is heavily driven by narrative but stays focused on themes that the game centres upon. Its success is achieved by effectively creating a setting that adheres to the environment and atmosphere in BioShock and through the use of in-game items such as audio logs.
The video game movie pastiche
Then there are games like Far Cry 3: Blood Dragon. Rather than imitate a particular film, or even expand upon an existing storyline, Blood Dragon takes all things 80s action-movie, and incorporates them into a single game. Blood Dragon achieved this in numerous ways: the neon visuals of the game itself, the voice of the protagonist provided by an actor who appears in Terminator and Alien, achievements that reference 80s films, a music score that references 80s action films, controlling a super soldier/cyborg and much more. The advertisement for the game is presented as a children's action figure commercial. Only this time, rather than playing with the toy, there was a whole new world to play with and explore.
A new type of video game based movie?
At E3 in June this year, a trailer was launched for an upcoming Ratchet and Clank movie. Whilst it is difficult to say how successful this film will be, it is worth acknowledging that developers of the original game are involved in its production. This, then, could be a move away from those early noughties examples of video games-turned-films. Considering that Ratchet goes to Captain Qwark for advice in the trailer, it is safe to assume that the film takes place either before or during the events of Insomniac's very first instalment of the Ratchet and Clank series.
Video games are now able to portray far higher standards of cinematic value via game-play, cut-scenes and in-depth narrative that continuously engages the player. Judging by the trailer for the Ratchet and Clank movie, it can be assumed that the future of video game-based films is gravitating towards the notion of gamers as their audience, rather than the more convoluted, niche demographic it once catered for. Consoles continue to find their way into the home through their extensive multimedia capabilities, and they are not to be underestimated as a medium.
A film version of Ratchet and Clank will require its audience to suspend belief and play a passive role, unlike video games. However, if the storyline adheres largely to the original game, this could serve to further demonstrate how in-depth and engaging plots can be outside of mainstream forms of story-telling, such as cinema (i.e. the film's success in the cinema could be a result of its engaging plot, lifted directly from the game). Hopefully this film - and those that follow - will portray the capabilities of video games as a valid story-telling medium, one which has often been misunderstood and stigmatised as simplistic in design (associated overall with dated themes of princess-saving in Super Mario), and one which is able to convey imaginative forms of narrative in ways that film, books or television can.
I just hope Ratchet and Clank don't start rapping as the film begins...
A film version of Ratchet and Clank will require its audience to suspend belief and play a passive role, unlike video games. However, if the storyline adheres largely to the original game, this could serve to further demonstrate how in-depth and engaging plots can be outside of mainstream forms of story-telling, such as cinema (i.e. the film's success in the cinema could be a result of its engaging plot, lifted directly from the game). Hopefully this film - and those that follow - will portray the capabilities of video games as a valid story-telling medium, one which has often been misunderstood and stigmatised as simplistic in design (associated overall with dated themes of princess-saving in Super Mario), and one which is able to convey imaginative forms of narrative in ways that film, books or television can.
I just hope Ratchet and Clank don't start rapping as the film begins...
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