September 19, 2013
Hollywood Wanted A GTA Movie (Part 2)
Continuing from Part 1 of this blog series, we were discussing the weak points of video games as an artistic medium. Ultimately, I believe that they often can’t be utilized in as little as a year’s time, the likes of which the movie industry can achieve on a regular basis with various production studios. Likewise, there are numerous reasons why.
For starters, video games often fall short of their goals and ambitions because of the format itself. They allow us to dig deeper into an entertainment and physically change what we see and hear. Unfortunately, much of what Houser is saying rings the same as Peter Molyneux’s theories on video games. In every interview, Molyneux is giving us perplexing statements and game changing ideas in an area where we simply don’t want them.
This doesn’t mean that Houser is a younger Molyneux, but describing the game in such astonishing words really does raise an eyebrow to what we’ve experienced in GTA games. I’ve played them all five times over with the intention of occupying myself with endless hours of vigilante missions, and I’ve never felt that I’ve really ‘changed’ anything. Are my expectations too high?
By my logic, the movie industry is far less creative in comparison to Bioware and Bethesda. On the other hand, yes, Bioware and Bethesda are far more creative than Hollywood.
My biggest concern for such a project is in the story is the universal chain that binds any media icon to different forms of it. Everywhere you go, in fact, you’ll see the smaller versions of your favorite digital media icons: SpongeBob, Avatar, The Expendables. But the line between games and everything else divides both sides of the argument even farther than you consider the story of these characters.
For example, we have Resident Evil. Resident Evil is the embodiment of cash cows (hence, the term milking) to both movie fans and video game fans. For some reason, the story just doesn’t end, which is ironic since the world has been overrun with zombies with flowers for mouths. Alexia Ashford’s story continues to sicken hardcore fans a little more for each successive release of a Resident Evil film.
In the time since the film’s original debut, we have seen five sequels and a number of cast members that have come and gone through very violent means. While I can respect that the movie series can stay afloat in an industry plagued by sequels, the continuous releases bother the story. Many of my complaints stem to the game’s slaughter of the original lore set by both the games and books.
I usually see this with video games turned into books, and vice versa. Add fan fiction into the bowl, and you have a story that is virtually spiraling out of your control and into the hands of others who probably don’t share the same vision as you. Isn’t that what the point is here? Vision?
Houser seems to believe that Hollywood has none. Can we counter his argument?
Image Credit: Rockstar Games