The Convoluted Relationship Between Video Games and Movies

The entertainment industry is a multifaceted, dynamic and labyrinthian paragon that is so virtuous and tempting, that the evocations it impels of the requisite creative and innovative machinations from the visionary developing luminaries are frequent and prestigious luxuries that the consumers of the products of the illustrious landscape are privileged to. They are impulses that lie deep within anyone and everyone, and the greatest and most maturely nurtured of the astute cultivations have seen their progenitors elevated to a summit pedestal of hallowed and venerated esteem and acclamation-Atop the most embellished echelons of societal adulation. It is a coveted and precious prize that many prospective prodigies seeking to initiate their careers of manufacturing an admirable cultural zeitgeist have acted as, and/or spawned reverent tributaries and imitators alike.

Purist critics would lambaste this on claims of plagiarism, but whether equitably or not, authentic and legitimately genuine odes to intellectual properties have liberally prevailed in the landscape that is a platform for the benign exploitation of creative expression and earnestness. It is versatile and compelling beyond just the superficial tangibles of conceptual design-Transcending categorisation in many instances, via a confluence of some of the most endearing and admirable aspects of humanity. The constituents of such beneficial creation are elements to marvel at, and to behold as the zenith pillars of dalliance with the indulgence of artistic desire, and fulfil the parameters of the many avenues that can be utilised for the conveyance of conceptualised and factual regalement of tales and allegories. Ultimately, it is art. In its entirety. Music, Film, Television, Comic Books, Illustrated and Literary Works and Video Games are the most pre-eminent examples of the various merits of an overarching and ubiquitous craft that never becomes fatiguing, despite its saturation.

Two of those sublime examples that have brought forth the most vital seminal sentiments to the urban generation in the highest volume of proliferation are both films and video games. Film is a fine and meticulous art that has undergone many meticulous augmentations over its decades of salience to the mainstream masses in the refining definition of how it has become issued through commercialist fantasies today. Evolving from what, at its fundamental level, was the humble beginnings of a progressive series of recurring images cohesively assembled to entice and entertain-Filmography developed at an exponential rate of growth, and accumulated a reputation of opulence by enshrining itself among the pantheon of mediums that are suffused with stardom, fame and also a tenacity to be reckoned with. It now resides alongside every other of its contemporary industries that, for better or worse, revolve around the affluence of capitalist commercialism-As a very profitable and monetised beneficiary ramification of the financial algorithm that dictates the further propulsive thrust forward in the advancement of the world.

Such an expeditious and trailblazing blossoming has only been a coveted, yet distant aspiration for the elements of media that ensued, and few others have even resembled the evolution, let alone paralleled it. One that has reached a comparable level of excellence the increasingly exceptional tangible gradation is marked by against a standard of metric is the insurgent and revolutionary gaming industry. For a medium that was previously so chastised and alienated by mainstream proponents under allegations of being a catalyst for the facilitation and encouragement of underachieving reprobates locked away in their parents’ basements, it has made quite a name for itself. It perseveringly persisted in lifting itself out of the mire, and has formulated a tenure marked by steady, but predominantly exceeding accomplishments. In the era of its genesis, it was so primitive by the standard of the urban expectations that it has set itself. But the most dignified components comprising the industry at that time have retained a longevity in a legacy of laudation. Everything from Pong, to Pacman, to Mario absolutely ignited a lavish fire deep within the industry, and laid the foundational groundwork for the succeeding alums, that only the highest advocates of the medium could have projected at the time.

The potential avenues that genres of gaming can traverse are resourceful and plenteous, and have expanded out into a broad and unorthodox landscape that is refreshing and enlightening for all who find themselves inebriated by the intoxicating endearment of the submitted material. A rapid amassment of a storied history has transpired for the industry, and the purpose of video games has evolved beyond mere superficial and gratuitous luxury in entertainment-Meticulously crafted and intricately woven pieces of storytelling parables have been constructed by visionary minds, and are often promoted in palliative tribute to the adoring and admiring fans. Much like films, games now have the faculty and propensity to create intertwining and immersive escapist’s fantasies in the form of fictional universes. But what gaming purists would argue that distinguishes games as the most superior of all entertainment formats is the additional possibility for a simplistic and basic experience that isn’t mandated to a monumental overarching plot-Modest and unpretentious, yet earnest and authentically sincere games predicated on the pure experience of elementary game mechanics have garnered just as dense and vibrant a fan base as any other type of game or film.

The resolute intentional ambition of any media format is to indulge the desires and passionate investment from those who appreciate it, and there are several methods for the expressive conveyance of that. Films, television, comics and all other formats are constantly in a perpetual state of seeking the engagement of consumers through the purveyed influences of indelible pleasures. Analogous metaphors are often implemented either subtlety or overtly to add to the narrative device and further enticing fans. The most popular and prevalently received method before the emergence of gaming was to stand witness to the transpirations on screen. Before that, it was via the conduit of readership. But another, and perhaps the most compelling element of the advocacy for video games, is the unique dynamic it presents factoring toward the immersion, by enabling players to truly experience the offered delights available through the vicarious interactivity within a title; The emphasis upon the incentivised initiative for contribution from the players is a virtue that only the format of gaming can possibly possess, and for many that is sufficient basis for the supreme vaunted appraisal of the industry above all else. However, an unbiased perspective to offer complete parity would be the acknowledgement of the indiscriminate equality between all of the delights of every aspect of entertainment. Anyone could argue that they should all be celebrated and appreciated for what they are, without the misappropriated pressure of competition.

The beauty of art is the eternal potential it posses for a confluence and assimilative synergy between the varied multitude of different constituents; And a cogent and harmonious combination of the most desirable assets of music and television, for instance, can often culminate in a final product to be revered and admired. Programmes like Doctor Who grasp and capitalise on every opportunity to set an ambient tone and atmosphere around the structure of any and every episode, and stand as testimony to the most appropriate application of musical compositions in a complement of the visual spender on the screen. With stellar releases being made available to the world at a more precipitous rate than ever, it is only through the hybridisation of these artistic facets that any contributor can possibly conceive and effectuate throughout the development process of a product that provides any semblance of an opportunity to distinguish itself. It is such an onerous accomplishment that is yearned after to the highest degree, and perhaps the most burdensome task of intermingling between two subsets of entertainment is the rarified success of the combination of gaming and television.

Gaming has taken cues of inspiration from the precedents set by preceding pillars of precious entertainment from the film industry in particular. Tales told in the same vein as some iconic pieces of filmography have emanated from within the consciousness of gaming’s developers; And the stimulating scintillation has been worn so proudly on the sleeves, that there have even been derived titles released in accompaniment of film franchises-With attempts to either bolster the established profile of the impetuses, or to simply capitalise upon the acclaim of the films. The latter literally impels the languishing failure of the desirable championing effect, due to the superfluously superficial and cursory effort in the endeavour of simply mining profit. And no matter how adoring or well-intentioned a tributary homage, the ratio of negative repercussions against positive ramifications is far too disproportioned.

There are exceptions in the form of the immaculate Spiderman 2 game, but overall, it has been a venture punctuated primarily by its forlorn destiny for capitulation. This of course, has unfortunately worked vice versa as well. Numerous games have been adapted for the cinematographic scene, and the instances of extreme success in that plight are even more scarce. The Mortal Kombat, Mario Brothers, Hitman, Tomb Raider and Resident Evil franchises have all been saturated throughout society, and have been the unfortunate recipients of somewhat harsh criticism-Especially in the case of the former two. The others have had fluctuating levels of esteem, and have been perennial perpetrators of inconsistency, with the high octane, ostentatious “dumb fun” remaining the most redeeming feature of their composition. It is not the most consequential or astronomically significant quandary in the world, but it is a confronting vulnerability that countless attempts have been unable to amend definitively thus far. None are willing to abandon their efforts, and there is an overwhelming belief that rectification can be achieved.

But decades of failure have induced a mentality that may lead some to conclude that it is a futile escapade that simply needs to put to bed. It is not unreasonable to cut losses and admit to the fruitlessness of a further attempt, but due to the persevering ambition to salvage a reputation, and the gluttonous desire to tax gullible viewers on the laurels of a famous image, it is unlikely that the gaming film niche will ever cease to exist. The diagnoses for the fallacies that have surrounded the industry are vaguer than some others, as the greed for more and more affluence to line the pockets of filmmakers is an omnipresent detriment, but it is not the definitive conclusion to deduce. There are many hindering liabilities that can afflict any game or film, and there are some examples of the alternating carousel of writers that plagued the troubled Super Mario Bros film’s production, and Mortal Kombat’s endurance through expensive reshoots, broken ribs and screaming executives-rendering the project besieged and tumultuous for example.

The commercial success of films like Resident Evil has influenced the corporate executives to determine that the reasonable course of action is to milk the cow until every drop is seized. A relatively impressive and satisfying beginning to the franchise entailed an offensive imposition of a sundry of sequels recklessly propelled in the direction of audiences, after the fine, meticulous construction of the instalments into the labyrinthian paragon. It has never been the most imprudently attended property, but the almost assuming marketing campaigns that have suggested an expectation that fans will flock immediately to the films has been detectable. Perhaps not the most egregious example of such an occurrence, but it adheres to the pertinent principals. In contrast to that is the genuine beloved investment that has been implemented into the production of a film, that has only been detracted from by ill-advised decisions and disarray during or even prior to the commencement of the creation. A quintessential example of the road to hell being paved with good intentions, such as the Assassin’s Creed film-That was not an outright ,sacrilegious travesty, but failed to flatter audiences who had heightened expectations after the promise of the games that inspired it, and the announcements that were made very steadily and sagaciously preceding the release.

There is a lineage of film failures that have been assembled throughout time, and they have only been made bearable by a majority of favourable competitors that have contrasted them. Nothing is ever perfect, and without the erroneous misfires to learn from, some of the most impactful and seminal films of all time would never have been created. Game-films and film-games seem to be an insular outlier from the standard parameters of the criteria for categorising and grading their respective general genres, but they are not exempt from the outcomes of their peers. The same fate always befalls them, whether positive or negative-But at such a different tier of intensity, that the exposure of their results is always exaggerated. The underwhelming past of game-films has lead to the accumulation of the reputation of dire worthlessness.

But one film that could break the threshold of extraordinary phenomena could instigate a worldwide sensation of a raving desire for more, and potentially a disregard of all of the inadvertent transgressions of the past. A breakthrough against the mould could be more revolutionary than the realisation of the beneficiary prospect that transitioning films into games, and vice versa; It boils down to the simple matter of touching the pulse of fandom, and striking a resonant chord.