TGWTG User Blogs

6.25.08

Yo,

I wrote this piece to express how I believe the creation of movies based on video games can be improved, as the inability of games to transition to films makes them seem less of an art form.

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Bioshock the film, a longtime rumor kept afloat by internet postings and musings between friends, has become an official production. Gore Verbinski, director of the Pirates’ trilogy and spokesperson for video games, has signed on to helm the project, penned by “Sweeney Todd” writer John Logan. Logistics, including expected production dates and further credits, have not yet been released, but it can be assumed that we can expect a later 2010 release date, if the shoot goes on a brisk schedule. It is one of the grander examples of Hollywood’s relationship with the most successful of video games, that is to say taking those that gain enough of a following and creating a filmic counterpart of its story, in most cases with a larger budget and grander production technique. The reason we do not see every single game that grosses over 500,000 copies spread over the silver screen is that, historically, video game to movie transitions has been one of the least successful collaborations between two related industries. It is the hope of the gaming community that one of our most precious releases of the most successful year in our history, does not become just another game title demoralized and disgraced by Hollywood release.

This may seem harmless, but this inability to transcend our interactive format and work as wider reached entertainment may lead some to hold us in less esteem than our non-participatory brethren. This transition, however, is not as easy to make as some would believe. The removal of the main element shared by all games, the interactivity, strips the content down to its story skivvies. Think of why it is not as fun to watch someone play Halo, as it is to frag alien ass yourself. Filmmakers have tried to compensate and ease the transition by including elements of the game into the cinematography, most notably in “Doom” (taking the camera POV from the famous first-person perspective: $28,212,337 USD) and “Silent Hill” (having sharp, static angles: $46,982,632 USD) but for the large part this effect has not been effective. What most people do not realize is that most games cannot make good films, as the gameplay is main focus on any developmental team (not a bad thing for the genre, a bad thing for cross-genre treks). It’s refreshing to see, on the other hand, the creation and support of more games incorporating cinematic elements into development.

For a long while the Final Fantasy series seem to be the soul enterprise that could pride themselves on filmic cut-scenes and deep character development (sadly, even their effort "Advent Children" couldn't translate into a big enough success.) Every year more games are released that border the line between motion pictures and interactive entertainment. It seems like the more games incorporate a sense of strong plot and engrossing characters in addition to, and yet somehow separate from its gameplay, the more likely this foundation could translate to the silver screen. Those believing Halo and Gears of War would make Blockbuster films could be right on many levels, as the action movie does not require much depth to sell tickets (hence why our late 1980s/early 1990s action hits ala Swartzenegger had big financial success in Hong Kong,) but those dreaming of seeing Metroid on screen should do well to look at the whole of the game before whining to me about the lack of Big Screen Fan-Service.

All this is not to be confused with video games made in conjunction with a film’s release, albeit it this relationship has not seen much more success. The faults of the movie-to-video-game franchises are upfront and obvious: rushed production time and lackluster efforts produce poor, shoddy video games; the McDonald’s Happy Meal toy of interactive entertainment. The titles are quickly mass produced for younger consumption, rushed out to correlate with appealing characters appearing on big screens, so little children will beg their parents for them based on their love for the film….or its advertising. Even films geared toward an older audience follow this pattern, spending a greater share of the budget advertising the game in conjunction with its blockbuster counterpart. Somehow, the desire to own these titles has not been beaten out of heads with better games, yet. It has become a general acknowledgement why these titles are going to be habitually poor, but; why Hollywood cannot produce a series of decent films based on video games is a deeper issue.

By far the most financially successful adaptation of a video game has been “Lara Croft: Tomb Raider,” ($131,168,070 USD) if my sources are to be believed. Lead to a respectable gross by the digitally enhanced sex appeal of Angelina Jolie, the film turned out to be the exception rather than the rule, as the second most successful video-game-to-movie product was the first “Pokemon” film, whose theatrical gross was a little more than half of Croft’s first big screen foray ($85,744,662 USD.) By in large film versions of video games have barely been able to make back budget, or been so low-budget that even a 150% return on the film would not be strong enough incentive for studio heads to approve further installments. The most notorious embodiment of poor video game adaptations would be German director Uwe Boll. His film versions of “Bloodrayne” ($2,405,420 USD), “Alone in the Dark,” ($5,178,569 USD) and the future uncertainties “Farcry” and “Postal” have gained a venomous hatred of the man in the gaming community, and worse, an image of the video game being an infinitely improbable transition to other media, garnering the medium less respect than its filmic and television counterparts.

This is not to say that all video games to movies are bad. Some are quite enjoyable: be it “Mortal Kombat” ($70,454,098 USD) and its cheesetastic dialogue and fight sequences, the aforementioned lyrically cinematic beauty of “Silent Hill”, or the generally entertaining stylings of the original “Resident Evil” ($40,119,709 USD). It is worth the effort to note that this is a genre overloaded, but not made entirely of, poor movies. These titles are just the better of the lot.

It is no shock, then, that each game-to-film adaptation put into production gets more skeptical eyebrows than premature applause. This is especially true when games with a certain amount of acclaim get picked up. Perhaps it’s a subliminal cynicism acting up, but this gluttony for punishment these films’ producers seem to have gives less than a sense of worth to the original medium, as if a game’s characters and story is invalid until recognized and given the nod of approval from haughty, “older brother” cinema. I cannot see into the minds of studio heads; but the sheer amount of lackluster productions attached with video game titles denote either an extension of the aforementioned Happy Meal mentality, or a lust to capitalize on a game’s audience by taking the title’s most well known aspects and graciously validating them with distribution on their larger, greater quantity of screens. Below is a (nonexclusive and not in any order) list of titles I hypocritically include as standards (some of these games use the word loosely) that could make the transition due to their attention toward story development elements. I also include, for my own vilification and the debate of all that read this, humble recommendations for directors.

Indigo Prophecy - impossible to do since it pretty much is a movie already. However, the game gets an honorable mention do to its success with movie mechanics. Use of separation and non-level angles gives the interactive noir a sense of living cinema, to which the interactivity is icing. In addition, the game successfully juggles the development of over half a dozen characters, most of which in a believable way. To do the transition now would most likely cheapen the work done by Quantic Dream. Although this should really be held as an example, a staple of what a game can do with in-game cinemas and cinematographic elements. Play any scene taking place at Agatha's house and try not to be satisfied with the Hitchcock-ian influence.

Monkey Island/Grim Fandango – this is an old-time reference, no doubt, but a potent one. The pervasive humor and characters would transit perfectly despite the murder of all the puzzle-solving mechanics. The level design is a wonderful inspiration to the set designer, and the plot entrenched costuming is Julie Taymor’s wet dream. Should be directed by (MK): Rob Reiner; the master of the idyllic perfection that is “Princess Bride.” Also Acceptable (MK): Robert Zemeckis, as he has proven himself with the comedic and potent “Back to the Future.” Should be directed by (GF): Alfonso Cuaron; the apocalyptic beauty of Children of Men + Dio De Las Muertos influenced Fandango is a match made in…..stylized hell, apparently.

Uncharted: Drake's Fortune - practically an interactive form of “Romancing the Stone,” the wonderful locales and witty dialogue should keep audience interested, not to mention dialogue editors and location scouts busy. The action sequences would most likely be more contrived than their in-game counterparts (which is saying something in itself,) but it is a forgivable offense if pulled off well. Should be directed by: Michael Bay, who needs to make up from his poor performance on “Transformers” by returning to his older style of work.

Condemned: Criminal Origins – this is provided that the sound design is as spot on in the game. If so, this could be a more than passable horror flick. The characters were a bit shallow, but with a few more scenes of inter-police workings added for good measure by the translating script writer, it could work. The forensics could definitely capitalize on the popularity of CSI. Should be directed by: Peter Jackson, because he can wow us again by doing big budget equivalents of his previous gory goodness ala Dead Alive. Also possible: Eli Roth, as I am told, works the gross out effects well.

Assasin's Creed - a strong team would be needed to switch between the old and new sets, and a budget of epic proportions would be required, but this is the most likely of new-generation games that could make it. This is probably why there are discussions already in motion for its production. Perhaps it is merely a desire to see the free fall mechanic of the game put into several stylized chase sequences, but I would pay to see it. The ambiguity of the main character would present some issues, but the detailed back story of the Crusades and manipulative rival company in the future should hold the audience out. Should be directed by: Ridley Scott because of his success with both period epics (Gladiator) and future pieces (Blade Runner).

Leisure Suit Larry - a series of lame jokes and sexual innuendo, to be true, but with the right casting and directing, it could be a cute little gem of a dirty comedy. Not a game on anyone’s top list for this discussion, but the game could easily translate to the screen and, if well done, make up for the years we have spent “Austin Powers”-less. As long as we keep a long term goal for Larry to keep dating, and a supporting cast of eccentric girls, it could work. Should be directed by: Judd Apatow. Do we need a reason beyond Knocked Up and Superbad? Also acceptable: Jay Roach. Because he….directed… “Austin Powers.”

Bioshock was one of the highest rated and commercially successful games of the last fiscal year, and its inevitable appeal to moviemakers garnered initial excitement, but a well felt foreboding aftertaste. Film studio heads and producers’ first goal is to make the largest profit possible, as is it with all of us dogged down with utility bills, but their treatment of our medium belies a condescending, some could say arrogant, view of even our most prized releases. As our games and their cinematic abilities continue to evolve, producing more and more titles like our listed ones above, we can hope for a cross-fertilization and integration of multiple storytelling mediums. For now, we can be happy that Uwe Boll is not directing Bioshock.