Thursday, April 24, 2008
Grand Theft Auto III. Rockstar Games: Rockstar North, 2001. PS2.
Dreamfall: The Longest Journey. Aspyr: Funcom, 2006. Xbox.For a game that has not yet been released (if needed):
Bioshock. 2K Games: Irrational Games, 2007 (expected release June 1). Xbox 360.
For an ongoing game:
Asheron’s Call. Microsoft Game Studios: Turbine, Inc., Oct. 1999 - present (ongoing). PC.And some more traditional citations:
Bailey, Tom. “Character, Plot, Setting and Time, Metaphor, and Voice.” On Writing Short Stories. Ed. Tom Bailey.
Bartle, Richard. Designing Virtual Worlds.
Dibbell, Julian. “A Rape in Cyberspace; or, How an Evil Clown, a Haitian Trickster Spirit, Two Wizards, and a Cast of Dozens Turned a Database Into a Society.” (
“The Grand List of Console Role Playing Game Clichés” (June 2004).
Howard, Todd. “
“The Legend of Zelda Retrospective: Part 6.” Youtube.com.
“Plot/Theory Analysis FAQ.” Shadow of the Colossus: FAQS and Guides. Gamefaqs.com (
Videogames and films could easily be deemed as two of the biggest revolutions in multimedia. It's been since its earliest days, the videogame industry has been fascinated with films and movies, and with turning big-screen stories into interactive worlds and all this with a range of success. But later down the years Hollywood indulged into creating movies based on the interactive storylines and worlds rendered in videogames - again with mixed success. In recent times, Hollywood has been mining videogames (and their predominantly huge male fan base) for box office gold. What makes this art of transition of films to games, analog to digital and vice versa so inconsistent? What makes success to elusive?
In the last 2 decades or so there has been a magnitude of revolutions in films, in multimedia. This revolution is the shift from analog to digital methods of recording and manipulating vision, perception and sound. However, if you think about this, it is interesting that the development of videogames in many ways followed that of film. The only difference being, it took films about eighty years to do what videogames took 20 to do. Still games are trying to get as close as possible to movies, may it be looking photo-realistic, may it be having deep storyline or may it be to inject emotion through games the same way movies do. Movies on the other hand, are trying to cash in on the gaining popularity of videogames.
Videogame developers are passionate about their games. And gamers, are more passionate about the games they play so devotedly for most part during the day (and, even in their dreams!). When a movie based on such a game which is popular and has a massive following comes onto the big-screen, the gamers expect it to be closest it could in following the game. But the game's biggest assets, its interactive form, challenging AI or the multiplayer aspect, the non-linear format are the most difficult to replace. And when the director of that movie manages to encompass all these hurdles and pack it into a linear medium, there are the non-gamers and conventional movie-goers who think it's too radical or a blasphemy or maybe just that the plot doesn't make sense. I remember this incident, I was watching "Doom" in a theatre and right when the pinky monster pops up, the guy (presumably a gamer) sitting ahead of me remarks, "Oh, I would have so landed a headshot on that!" And a person sitting next to me just looks at the guy perplexed and possibly disgusted. He probably did not realize the cult following that Doom possesses among FPS gamers. Still, the gamers did not react favorably to the movie primarily because the movie strayed away from the original game-plot, there were not enough monsters, etc.
A movie has such a wide base of audience that it's almost impossible to have a successful game-based movie that would be an instant box-office hit. It does not take a film fanatic to know that the critics rarely appreciate seeing a video game on the silver screen. Unsurprisingly, it is equally rare to find a film critic who appreciates a good video game at all! Movies like the first Mortal Kombat, Silent Hill, Resident Evil, both Tomb Raider installments followed the respective game plot loyally and have done pretty well among general audience and gamers. Transformers (movie), on the other hand was praised my general public but grossly criticized by the hardcore fans.
The failure to make this transition is solely due to the lack of interactivity in a movie, and without the luxury of a joystick (or a controller) in gamers' hands, he stands no chance to make the incoherent on-screen antics any better. The joystick places the gamers in control of the narrative, essentially allowing them to rewrite the story. Two of the most nerve-chilling games Silent Hill and Resident Evil have multiple successful sequels. However, they each offer a completely different take on fear where Silent Hill often feels more terrifying of the two. There is a reliance on torchlight, for instance, creating a sense of intense vulnerability whilst a hollow morose soundtrack of gothic industrial screams and clangs shake your spine. It does not mimic the high level of monster-slashing action and shock horror techniques used to build fear in Resident Evil. In 2002, Paul Anderson's interpretation of Resident Evil was released, followed by Christophe Gans' Silent Hill in 2006. Both directors admittedly being huge fans of the respective series, thereby allowing the films to remain largely true to the games, each using the same nightmarish creatures to haunt familiar locations. Both directors even recreated some of the most iconic scenes; such as a train carriage showdown in Resident Evil reminiscent of the second game's ending, and Rose Silva's car crash in Silent Hill taken directly from the opening of the first game. This loyalty means that the films also reflect their respective games' portrayal of fear. Unsurprisingly, the critics in both the US and the UK were mostly negative in their reviews where as both films were a hit with the fans, although when reviewing the profit margins it appears that the action-orientated Resident Evil was more successful overall. Nevertheless, gamers should perhaps be reminded that even in videogames, the joystick only gives the gamer the choice to do his own stunts and stuff, rather than the ability to affect the storyline, which is usually pre-determined by the developer. Nonetheless, support from fans means that the industry will continue to push into the cinema and games will keep evolving and getting closer.
Wednesday, April 23, 2008
sorry for the late paper. I had severe trouble finding a game for my original topic and had to switch gears at the last second. Since it's not appropriate for the paper, I would also like to just point out that with the new Speed Racer movie, we were 20 dollars and a paint job away from a serious F-zero movie.
My full intention for this paper was to write out a summary for a live-action game movie that would be successful enough to reach critical acclaim and hopefully lift the stigma on game movies. For this, I set three simple criteria.
The game has to be obscure so as to not immediately be recognized as a game movie
The game has to have a rich background and history with at least some maturity to it
The movie has to be a side-story of the game's plot and not an immediate rehashing
However, as I spent a whole week searching, I came to realize that no game has actually met all of these criteria. Even if one did exist, it's likely said game wasn't very good, and would not reflect well on it's movie successor once it was revealed it was a game movie. So, I decided to present four candidates that fill most of the criteria, but fall short in some way and present my argument for them.
Psychonauts- Unfortunately, this one fails to have any known backstories worth exploring that weren't fairly well fleshed out in the game. Do we really want to know Dr. Demento's life as a dentist before the game? Also, this game is not as obscure as it would need to be to keep from being immeditately recognized as a game movie. However, the game has three major things going for it. First, the writer of the game is alive and would want to see his character brought to a mass audience again. Second, the game, while not Oscar winning, is definitely an interesting and wonderful world to epxlore. Third, the game ended on a cliffhanger that'll probably never be resolved due to poor sales of the original game. A movie could be an excellent chance to tie up this loose plot end. If anyone could write a movie script for a game, it's Tim Schaffer. Mind you, it'd come off as a bit like Kevin Smith, but is that a bad thing?
Skies of Arcadia- Here's a game with a really interesting world. Technology is steam-punk, everyone lives on islands floating in the sky, and the whole place is littered with bad ass Air Pirates and an evil empire. This isn't exactly a Shakespearian tragedy, but the game does have a solid plot and a very well fleshed out world. On top of that, if we're talking about selling seats, nothing is hotter in the movie industry right now than pirates and fantasy. Like Psychonauts, the fans got a cliffhanger ending that will likely never be resolved, and we're too assume that the main characters had many adventures after this. So, a side story movie after the game isn't unheard of. The game's obscure enough, the world's rich enough, and we have the grounds for an after story. The problem with this adaptation would be the casting. Even with only 6 main characters in the actual game (and only 3 of them actual members of your crew), the movie might have too many characters. Fans would insist on a nod to some of the members of the previous game, and it might bog down the plot a lot. There's only so many cameos you can do in 2 hours. On top of that, casting Vyse, the main MAIN character, would be extraordinarily difficult. Vyse is portrayed in the game as one of the most charismatic characters ever. For some reason, this was accepted in the game. People like Vyse. However, in a movie, without careful casting, Vyse would be a smug James Bond/Indiana Jones wannabe. Finally, even if it does come out, this isn't going to win any Oscars without Peter Jackson directing it
Breath of Fire IV: Dragon Quarter- This one's very interesting. Despite being from a famous series of games, the game itself is an obscure cult classic due to a weird combat system. The world is rich and interesting. It's set in a post-apocalyptic future wherein the people polluted the world so bad that the people can no longer live above ground. Instead, they live underground where monsters roam free and rangers have to keep everyone living from day to day. One of the characters is created for the sole purpose of filtering the air in the underground mine shafts that everyone lives in, and it turns out that she's defective and that living down here for much longer will kill her. From a serious plot stand-point, this game has everything. In a game that's only about 10 hours long, we touch on issues such as class gaps and elitism, the needs of one versus many, the environment, the harshness of dark side of science, government conspiracy and surveillance, terrorism versus freedom fighting, and sacrifice. The game even has an almost tragic ending. The game fleshes out its story extremely well with unlockable side cutscenes extending the story on multiple playthroughs. The best part is, if you cut out the fluff and dungeon crawling, the game could actually be truncated into an actual 2 hour movie without sacrificing anything of particular value. However, this volates the rule of doing a side story. You could discuss the events prior to the game a bit more, but ultimately, this would be a rehash of the game itself.
Phantom Brave- This one has much the same idea to it as Dragon Quarter. Fairly simple plot that covers some deeper issues at its core. The story of a girl that can see ghosts and her ghostly sidekick covers issues of honor, people's inability to accept things that are different, personal sacrifice for the good of others and society, not judging people by appearances, and even that the most insignificant of people can have a major impact on the world. It's a deceptively deep plot with few enough main characters that you could reasonably cover most of them in 2 hours without sacrificing anything. The plot is a bit longer than dragon quarter, but it is still possible to get the whole thing down due to the simplicity of some of the chapters and the fluff nature of others. It even has a bit of a tragic twist at the end of the game. Once again, we're getting mostly the same plot. Unlike Dragon Quarter though, this one has the potential of telling the story from a different character's point of view. The tragic Anti-hero of the game, Walnut, is interesting enough to warrant a main character role in a movie, and a story about him would be one about the redemption of the flawed hero. All in all, it would make for an interesting and very serious film that doesn't have the typical happy video game ending.
In the end, I'm not entirely sure the industry is ready for good video game movies. No one has made a game that fully fits the criteria needed to break that barrier. How long were movies out before we had a good movie based on a book? How long after that before we stopped constantly focusing on the fact that said movie was a book first? If anything, this research has proved that the industry isn't ready yet. A game hasn't come out that's good for movies, but this research does show that there is a good possibility that we will get there in the future.
Many developers wish to recreate an experience from a book or movie or graphic novel while being completely faithful to the source material. Many developers also wish to involve the player in a more involved emotional experience than the typical game. Interactive fiction is one format which has had some success in this area.
For the uninitiated, interactive fiction is similar to the adventure game genre. The games focus on exploration, interaction with other characters, and are heavily narrative based rather than reflex based. However, unlike adventure games, interactive fiction is typical much more linear and resctrictive. While adventure games often allow the player to roam around until they figure out what they need to do next and often revolve around puzzle solving, interactive fiction is generally limited to moving from one character interaction to the next on a heavily design-guided path.
The Dark Eye serves as an excellent example of a game that succeeds at getting the player involved in the story while being a faithful translation of its source material in content, tone, and style. The Dark Eye is a piece of interactive fiction that places the player in the role of an unnamed character who is visiting his uncle Edwin. The game uses this overarching plot as a framing device. During his visit, the main character becomes ill dues to the paint thinner Edwin uses to paint. This paint thinner, along with the main character’s decline in mental health due to his nightmares and events in the main story, causes him to have hallucinogenic nightmares. These nightmares are retellings of Edgar Allen Poe stories and the player plays through them from the point of view of both victim and victimizer.
The Dark Eye faithfully recreates three of Poe’s stories, “The Tell-Tale Heart,” “The Cask of Amantillado,” and “Berenice.” By using the interactive fiction format the developer, Inscape, can do a more accurate job of placing the player into the shoes of characters in the stories. By limiting the choices that the player has at any one time it is easier to manipulate the player into going a certain direction, interacting with a certain object or experiencing a certain event. This makes it easier to control the pacing and the exact events and the order they take place in for each player. This in turn makes it easier to manipulate the player’s emotional reactions to the story, just like a movie or a book. The framing story is an original story but maintains a faithful atmosphere by creating a very Poe-esque narrative using many of the common themes in his short fiction.
The Dark Eye limits what the player can do much more than most games. Although the ‘nightmare’ sections can be played in any order, within the scenes themselves the player is often very limited. There are key moments when the control cursor is ‘grayed out’ to all action choices except one so that the player can in fact only turn left or pick up the box or whatever might be happening at that point. Yet the fact that the player is given free choice to choose the order in which the stories occur (even going so far as to allow the player to select to play the victim in a story and then at key parts ‘soul jump’ into the victimizer if they so choose) allows for different experiences among each player while still keeping the same story.
In the end, the deciding factor is whether or not this kind of interactive fiction can be categorized with other video games. The limitation of player choice makes it easier and more effective (compared to most games released so far) to maintain a faithful translation that actually places the player into the role of a character in the story and to create a narrative that more easily drives the player. However, the interactivity and choice afforded to the player are major factors of what makes a video game a video game and are the major draw for the medium. Interactive fiction, if handled properly, can be an effective tool but in the end it really must be categorized as a separate entity from games due to its too restrictive nature.
Sly Cooper and the League of Ragnarok starts in the same way as all Sly Cooper games: with a recollection of past events and the story of how the characters met in an orphanage. One day, Bentley reads about a crime in Eastern Europe, a crime in which a band of techno-terrorists have stolen blueprints to a doomsday device. This band of techno-terrorists, or the aptly named League of Ragnarok, wish to create a 3 year winter causing the destruction of society and its eventual rebirth into a new world order. Sly and Gang must steal the components of the device before the league can build it, in order to foil their plot and save the world. The plot will reunite old friends as they work together to defeat the League.
Their journey starts when Bentley hacks into the League’s computer and copies the blueprints of the Vetr Cannon, a gigantic weapon with the power to change Earth’s climate. This allows the League to ascertain the whereabouts of Sly’s hideout and they are subsequently attacked by Angrbär, the League’s muscle-bound hitwoman. They narrowly escape and retreat to their mobile hideout, Murray’s modified van. Sly and Gang quickly hatch a plan to infiltrate the Jotunheim ruins and stop the device from being activated. During the infiltration, Sly is captured, Murray manages to escape, and Bentley is thrown into the ocean and presumed dead. With Sly and Gang dispatched, The League of Ragnarok is able to activate their device and envelop the Earth in a 3 year winter.
…9 months later…
The world has been shrouded in winter for about 8 months now. Cold, hungry, and deprived of human contact, Sly Cooper sees sunlight for the first time. He hears a woman’s voice asking him if he is alright. Slowly her face comes into focus: it’s Carmelita Montoya Fox! She with the help of Bentley, and Dmitri Louseau the “Lounge Lizard,” infiltrated the League’s underground gulag and extracted Sly. She explains the dire situation and expresses her desire to set aside their differences and work together for the good of the planet. The League has been holding the world’s food sources ransom and charging extravagant prices to everyday citizens. The world is steeped in a permanent -4 degree winter while the League watches from their mobile, floating techno-paradise of Jotunheim.
First, Sly and Gang must discover the position of Jotunheim. Bentley hacks into the Interpol database and is able to locate Angrbär. The team flies to southern Europe and manages to sneak into her lair. After much fighting, Sly and Carmelita interrogate Angrbär and are able to pry the whereabouts of Jotunheim from her. She informs them that the waterborne station circles the equator in order to maintain the chilled climate. However, it must stop every 3 months at an uncharted island in the south Pacific.
Jotunheim is an impregnable techno-fortress equipped with weapons and traps birthed from the twisted minds of the League. It will take all of Bentley’s cunning, Murray’s strength, and Sly’s stealth to infiltrate this metallic leviathan.
Sly and Gang eventually make it to the core of the station where the leader of the League of Ragnarok awaits, along with the power source for the Vetr Cannon. Sly must defeat the evil warlord and disband his league. After a climactic battle, Sly overcomes the odds and incapacitates the evil villain. Carmelita is able to make the arrest and downloads the names of the remnants of the League from his master computer. Sly is able to steal the power source of the Vetr Cannon, a 14 ct. diamond, and reunites with his friends outside Paris. During the epilogue Sly finally conquers his fears and professes the feeling he’s had for Carmelita throughout the first three games. Emotionally and physically battered from the past year of duress under the League has shaken her faith in traditional law enforcement. She too professes her feelings toward Sly and joins their Gang as his fiancée and partner. The movie closes with the wedding in Sly’s new mansion paid for by the stolen diamond.
In all honesty I had envisioned this game as a Saturday Morning cartoon. Each episode could feature Sly’s Gang obtaining an integral piece of info or equipment for the big heist that would end the season. Sly Cooper’s far-reaching appeal and unique aesthetic make it a ripe IP for the big screen. The use of traditional animation cuts down on awkward acting and allows for a truer interpretation of the original work. A properly translated game could open doors for future titles, sequels, and profitable merchandising. A well received movie could also give Sony the mascot they are looking for.
The movie was released December 14, 2005 while the game was released about a month earlier on November 17th. The reason I mention this is that we have discussed how movies repeatedly use games as merchandise for movies to make extra money and increase hype, and do not give them the due respect they deserve. Generally, my opinion about games based on movies is that they continually feel unfinished and rushed.
I enjoyed the film and honestly felt it had the potential for a great game. The scenery, locations and story made a great setup for a game. There was an amazing world created in the film that gave the game a lot to work with.
I think overall they did a good job of translating the game over. The game had around forty levels, but they were fairly short so you played through them fairly quickly. The story was changed in ways that would make the game stronger. For example, in the movie only Ann Darrow is captured by the natives and lowered over to Kong. In the game you (Jack Driscoll’s character) are captured and watch this happen. Then Carl (another character from the movie) comes and unties you and you sneak away to go rescue her. They use a lot of common creatures and locations from the movie, but make many new experiences that weren’t in the movie. Also the sequence of events in the game is not the same as the movie, but I do not think this takes anything away from the experience.
If they had spent more time on details in the story it could have been a magnificent game. The game became very repetitive, doing the same actions over and over. It seemed in every level you had to use this torch to burn some brush and find this specific stick to open the door, even though there were other sticks everywhere else that would do the job just fine.
The game was clever in some aspects when you could do things like kill some little creature then throw it on a spear to distract the V-Rexes from attacking you. Another interesting bit about this game is there is no display whatsoever. There are no health, ammo, target or navigation icons on screen, only your view. You can hit a button on the controller and he will tell how much ammo is left. Ammo is very limited so you cannot go crazy with it. Many times you run out and are forced to use the spears lying around, which is pretty neat and probably realistic. Also you have to protect the whole team, none of the main characters can die when you are all in battle.
Also you actually get to play Kong occasionally. This seldom occurrence is really a strong point to the game. His controls work very well, sometimes the camera work is odd while playing him but other than that it is great being the beast.
My overall view of the game is that it is good, but could have been amazing if treated more like a game instead of an addition to a movie. I feel they used it to push movie sales and rushed it. They did a good job with the story, as not following the movie but borrowing locations, characters and creatures. They should have just thought the levels out more to reduce some of the repetitiveness.
Video games have the ability to allow players interaction or participation with historical events to alter the past and play out what-if scenarios. Loose fidelity to historical facts can be advantageous to the game by expanding the interactive experience, but the game’s presentation and execution of a time period could determine if developers’ interpretations succeed in immersing the player in a fictionalized historical environment. Koei’s interpretations of the Chinese historical novels by Luo Guanzhong, Romance of the Three Kingdoms, are provided mainly in the form of two series: Romance of the Three Kingdoms and Dynasty Warriors. As both series cater to a different audience, Koei chooses greater liberties in Dynasty Warriors as opposed to Romance of the Three Kingdoms. Romance of the Three Kingdoms and Dynasty Warriors bring effective as well as questionable experiences in the representation of the Three Kingdoms era, but ultimately the former succeeds in merging history and fiction through player interaction.
Romance of the Three Kingdoms is a simulation game where diplomacy and battles occur in determined turns. The player governs provinces in an overview map where civilians and military are represented by numbers in a provinces’ statistics. In battle, the player controls several generals who have their own units. A unit may attack another unit in various methods, such as melee or special tactics, but the player remains disembodied from the fray. The player cannot directly control individuals within a unit and must partly rely on the game programming to determine how many soldiers die and whether or not a special tactic works. The close-up combat of the action game, Dynasty Warriors brings the player to the vanguard, and players take a direct role in accomplishing tasks that lead to victory. Dynasty Warriors’ strength comes from throwing the player in the midst of a battlefield. Each soldier, civilian, beast, and siege weapon is represented by a 3-D model, along with a health indicator, so the player can count each head if he or she chooses. By controlling a single general, and having some authority over bodyguards and troops, the individual battles of history become more personal as the player succeeds or fails at tasks. Actually taking the role of a general, rather than ordering a general, gives the player a stronger sense of fighting in the chaos of battle and having first-person impact on the expansion of territory.
The vague or broad description of most generals in Luo Guanzhong’s novels allows Koei to fill in their interpretations in their own creative manner. Romance of the Three Kingdoms presents characters through painterly portraits while Dynasty Warriors use both portraits and full 3-D models. Defining features such as Lu Bu’s strength or Xiahou Dun’s eye patch are faithfully represented in either series. However, the depiction of other characters—Zhang He, for example—considerably contrasts from one game to the other. Zhang He does not appear as the flirtatious, effeminate narcist that he is in Dynasty Warriors in Romance of the Three Kingdoms. Because of his vanity and an outfit adorned with butterfly wings in Dynasty Warriors, players may take the character less seriously, and the real Zhang He’s character, one of the five top generals of Kingdom Wei, is undermined. His portrait in Romance of the Three Kingdoms, along with other generals (male and female), are drawn with helmets. As generals should be, they appear ready for combat, not ready for a costume party.
Extravagant clothing of characters in Dynasty Warriors helps player-controlled characters and enemy generals stand out from crowds of soldiers, but combined with rock music, heroic or silly poses, fantastical weapons, and gravity-defying action moves almost makes the battlefield appear like a cartoon circus. The more traditional Chinese music and the earthen color palette in Romance of the Three Kingdoms does not jar the player out of the environment. In this case, less is more, and Dynasty Warriors character appearances exceed exquisiteness to the point of ridiculousness while the facelessness of numbers representing soldiers in Romance of the Three Kingdoms leaves room for the player to inject his or her own imagination.
Romance of the Three Kingdoms is a quieter game compared to Dynasty Warriors, which is truer to the reflective ancient Chinese culture. Dynasty Warriors aims for a younger audience with colorful superheroes and fast-paced action. Koei’s decision to insert various aesthetics, such as gaudy costumes, becomes a distraction and pulls the player from the game even if for a brief moment. In the end, the overall atmosphere of Romance of the Three Kingdoms remains consistent, more accurately depicting the Three Kingdoms Era while still allowing fiction through player interaction.
Thursday, April 17, 2008
Ender's Game into a game... They actually don't say much about the game. Not to force things into categories, but I don't even know what kind of game it is. By the title "Battle Room," it looks like they're focusing on the children's training games. I wonder if it's going to follow the book or have a new story, or if it's just going to be a fighting/tactical game of sorts with more emphasis on the battles themselves rather than characters and the world.
As long as I'm on the topic of books... Using the DS for reading books.
We may not have a ministry of culture like in France, but it is nice to see some government body take notice of games. Hopefully, this will help generate a better view of games in the eyes of parents.
This is a very interesting article about morality in games. She uses MGS to support her arguement. I personally don't believe that the developers are responsible for adding morality in games. I certainly think that gamers should choose to react emotionally to games in any way they want. It's definitely a thought provoking piece.
Wednesday, April 16, 2008
As the author Kian Bashiri commented, "It's about games being easy and cliched. Some people have said that it's about games being too hard and that's not something I intended really, but I think it applies too. I don't think it's good when a game has 600+ hours of gameplay." This is almost synonymous to what I mentioned in one of my previous posts titled "It really has to be that "f***ing stupid"?" where BioShock director Ken Livine says, "If you want people to follow your plot, it has to be really f****** stupid! In recent times plot has been highlighted as an area in which games fall short, but do we really want to be caught up dissecting a story for hidden messages and meaning. Or, do we just want to sit back and be entertained?"
The full article on 1up.com can be found here and the game here.
To me, a large part of worlds/movies being translated successfully into games is the writing.
This is an interview with a freelance writer, Dalan Musson, who has written for both film and games. The focus is more on games using movie licenses rather than original game worlds, and it has some interesting points of comparison between the film industry and the game industry. Musson also shares some thoughts on writing for games in general.
Tuesday, April 15, 2008
Potential rebirth for a Halo movie?
The early parts of this article try to connect Halo to the Bible. Interesting at first then the stretches start...
Monday, April 14, 2008
The final 15-20 page paper is still due on May 1st. We will not be having class that day; rather, papers will be due in my office at 12:00 PM. (You do not need to post the long paper to the blog!)
Second, a reminder that I will be leaving class a bit early next week, due to what I'm affectionately calling "circumstances beyond my control." I will be on my email all next week, save for Thursday night (during which I'll be waiting for the anesthetic to wear off and feeling sorry for myself.)
If you have any questions about the rest of the term, please email me as soon as possible. These deadlines are coming up very quickly.
Thursday, April 10, 2008
Unfortunately, this was an April Fool's joke. It is doubly unfortunate because more effort was put into this trailer than into some feature films.
I'd be curious to see what a person who was wholly unfamiliar with the source material thought of the trailer. How much of the emotion and excitement I/we feel while watching it comes from the preexisting material?
The article can be found here. A word of warning though, expect some F-bombs dropped every now and then, with a tinge of his "modesty"!
PS: The comments left by the readers are even more hilarious!
Wednesday, April 9, 2008
On the flip side, a couple of games that made the translation well...so this site says.
I played this game at a very young age on the PC. I think I first learned of Isaac Newton, Leonardo Da Vinci (whom, unfortunately, made me think of the Teenage Mutant Ninja Turtles back then), and a couple others from this game.
This takes a different approach to history. It's more of an educational game than an "experience history" kind of game like Romance of the Three Kingdoms. I wonder at what point not staying true to history will be taken as an insult to history rather than taken as a splash of creativity.
Beowulf comes to mind. And a little off topic, when is it advantageous to use CG characters instead of real actors when you use the real actors' faces on the CG characters?
These are two interpretations of the Three Kingdoms era by the same company, Koei. Basically, Romance of the Three Kingdoms takes a more realistic approach while Dynasty Warriors goes for flair and anime style. It's fun to see how the characters look like in one and the other, and then even throughout each game in each series.
Koei has also made games from other historical evidences, like the Nobunaga games and the Joan of Arc game. They take great liberties in their character portrayal...
However, making traditional games from video games is by no means a new practice.
Thursday, April 3, 2008
In this article, Justin Marks, speaks out against gamers thrashing game adaptations. He also offers some solid advice on how to fix the problems, as well as why they mostly seem to fail. He offers a unique, Hollywood perspective to adapting games.
The article can be found here.
Wednesday, April 2, 2008
This is for the people who expressed their dislike for Uwe Boll. I didn't know much about this person so I tried to find out a little bit, apparently there are a large number of people, over 18,000 now, who don't care for him.
This is an interesting article that states that Wii's have been undersupplied to the US to protect Nintendo against declining profits.The USD has been regaining some of its strength vs. the EURO and JPY. The JPY has also depreciated against the Euro, further reducing Nintendo's profits. (historical FX data from OANDA)
For people that need a little catching up...
And ARGs are popular enough nowadays that they even have their own network dedicated to finding them...
So why is it important to talk about ARGs in translated spaces?
1. It takes the mystery novel appeal and translates it to a mass audience in real time
2. It's a unique cultural experience with massive insight into game development and the needs of the casual and hardcore gamer
3. It's the only medium where you can get hilariously ironic free referential swag for participating: http://www.argn.com/archive/000711harvey_dent_campaign_swag.php
Anyway, rather than rant about my personal experience for 3 pages, I figured I'd just give the gift of letting you experience it yourselves. The following is the 20th anniversary edition of the game brought free by the BBC network. It can be hard if you haven't played a text-based adventure game (and hard even if you have), but it's a good fun read and play. You'll probably feel just as hopeless as Arthur Dent did in the books.
A good reason for this translating so well is the fact that Douglas Adams, along with Starship Titanic, worked directly on this and saw video games as an amazing opportunity for storytelling. Needless to say, as cruel as it is, a lot of love was put into this game.
This is an interview with Raymond E. Feist, a writer who gave Dynamix game developers permission to make a game based on his fantasy world. He didn't actually write for Betrayal at Krondor (which is why he says when he played it, he was surprised). Feist liked how the game developers worked in his world that he later wrote a novelization of the game (Krondor: The Betrayal) and sequels.
Betrayal at Krondor was well-received by players and critics, as stated by Wikipedia, although I'm not sure if the game sold as well. People today might say it's too much reading, but I don't mind all the reading if it's decent like this game, Quest for Glory, or Daggerfall.
Tuesday, April 1, 2008
The study conducted by Zaheer Hussain and Mark D. Griffiths (Nottingham Trent University, Nottingham, UK) titled "Gender Swapping and Socializing in Cyberspace: An Exploratory Study" suggests that a majority of MMO gamers cross th gender barrier. A test-group of 119 online gamers ranging from 18 to 69 years of age completed a questionnaire. The results showed that just over one in five gamers (21%) said they preferred socializing online to offline. Significantly more male gamers than female gamers said that they found it easier to converse online than offline. It was also found that 57% of gamers had engaged in gender swapping, and it is suggested in the study that the online female persona has a number of positive social attributes in a male-oriented environment.
The original study in .pdf format can be found here.
BLURRING THE LINES: How Does the Film Industry Impact the Gaming World?...and Vice-versa
Co-hosted by the Dallas chapter of the International Game Developers Association
Today’s video games are complex creations with scripts, art direction and fully-developed characters. How are these games impacted by film and its creative practices and storytelling techniques? And how has a new generation of gamers forced the entertainment industry to reexamine the projects it puts onto the big screen? We’ll examine how the creative and business model for each industry is changing.
Moderator: Gordon Keith, The Gordon Keith Show Panelists: Randy Pitchford; Marty Stratton; and John O’Keefe