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Besides 1st comment I will like to say I have been noticing how similar the two are becoming also. I have done some film work before and when it comes to finishing a game they seem oh so similar.
On that note, I'm a film student myself and I hope to stealthily integrate video game setpieces into movies with neither audience ever noticing. Maybe I should pick this up too.
I always thought Hrand Theft Auto's (and even more since IV) have been this huge, always flowing, never-ending movie-like experiences. I mean the cutscenes are obviously top notch and in GTA IV you can really see and feel how close to a movie and reality they seem. Even on Vice City, or San Andreas, they all felt too believable or either too stylish and carried with such charisma that it was something you just had to see in a cinema because of how good it is or probably feel like you've seen it before IN a movie.
Not to mention the Housers' excellent dialogue across all the games. More so with Max Payne 3.
God bless Rockstar Games.
Not to mention the Housers' excellent dialogue across all the games. More so with Max Payne 3.
God bless Rockstar Games.
I always thought Grand Theft Auto's (and even more since IV) have been this huge, always flowing, never-ending movie-like experiences. I mean the cutscenes are obviously top notch and in GTA IV you can really see and feel how close to a movie and reality they seem. Even on Vice City, or San Andreas, they all felt too believable or either too stylish and carried with such charisma that it was something you just had to see in a cinema because of how good it is or probably feel like you've seen it before IN a movie.
Not to mention the Housers' excellent dialogue across all the games. More so with Max Payne 3.
God bless Rockstar Games.
Not to mention the Housers' excellent dialogue across all the games. More so with Max Payne 3.
God bless Rockstar Games.
I think Heavy Rain and Uncharted are completely reductive; they're essentially FMV games. They play just like early 90s FMV games and they have that same stupid "games aren't cool so we need to make interactive movies" feel. And the stories games are telling nowadays aren't interesting. Everything is about military crap, zombies, superheros, and dark fantasy. The protagonist in every modern game is a Vin Diesel clone. Everything is about gritty faux realism. It's not compelling or appealing to me in any way.
When I think of video games as a storytelling medium I think of Broken Sword, Planescape Torment, Outcast, No One Lives Forever, Star Control 2, Anachronox, Lands of Lore, Psychonauts, Brutal Legend, and all the Lucasarts adventure games. You know, games that have interesting art direction and attention paid to characters and personality (and they don't let film language get in the way of the interactivity).
When I think of video games as a storytelling medium I think of Broken Sword, Planescape Torment, Outcast, No One Lives Forever, Star Control 2, Anachronox, Lands of Lore, Psychonauts, Brutal Legend, and all the Lucasarts adventure games. You know, games that have interesting art direction and attention paid to characters and personality (and they don't let film language get in the way of the interactivity).
Respectable Storytelling Medium is a threshold, which only requires one game to pierce before we're allowed to drag that game into every debate and show it off, like a prize poodle. Bioshock/Games Are Art style.
I find that games that never really take control away from you like Half-Life 2 and Bioshock are much more effective storytellers than the pseudo-interactive QTE's in Heavy Rain and Uncharted. (Though I do really like those games.)
This sounds like a really interesting read, thanks for writing about it.
This sounds like a really interesting read, thanks for writing about it.
"Uncharted is basically an FMV or QTE"
What the fuck.
Gears of War is a flight simulator. Amidoinitright?
What the fuck.
Gears of War is a flight simulator. Amidoinitright?
@Raby
Nothing really, it's just a coined label that expresses how the current gaming climate has more or less achieved what was envisioned by game companies nearly three decades ago.
Nothing really, it's just a coined label that expresses how the current gaming climate has more or less achieved what was envisioned by game companies nearly three decades ago.
i think i speak on behalf of a lot of other people saying that video games have the potential to be even BETTER than movies
i think hollywood's parasitic relationship with video games cradles too many of it's static conventions to the way modern AAA video games have become: interactivity & nonlinearity is replaced by orchestrated setpieces.
i am not advocating about how "games were much better back in the day" but antiquated video games were an experiment on human interactivity and the relevance of it's context takes a backseat to the experience that tests the user's skill to adapt to the given conditions. twists and remarkable revelations can be amplified by the fact that the actions of a player created such consequence.
hollywood's own storytelling model has great similarity with pricing models: games end up feeling like there's always a sequel waiting in the distance, and writing primarily focuses on concepts that are reinforce subjective zeitgeist (war is hell, suffering is inherent, good people get the stick) while characters are merely vessels to acknowledge and absorb that regurgitation.
the whole focus on realism, while a nice benchmarking reference to our current technology, shouldn't be the ideal when it comes to creating games.
it doesnt matter how much i rant in the end of the day, it's audiences who choose to support the conventions they condition themselves to enjoy. until then, we sit idly until the next marginally imaginative game and proclaim "i wish we had more games like this"
i think hollywood's parasitic relationship with video games cradles too many of it's static conventions to the way modern AAA video games have become: interactivity & nonlinearity is replaced by orchestrated setpieces.
i am not advocating about how "games were much better back in the day" but antiquated video games were an experiment on human interactivity and the relevance of it's context takes a backseat to the experience that tests the user's skill to adapt to the given conditions. twists and remarkable revelations can be amplified by the fact that the actions of a player created such consequence.
hollywood's own storytelling model has great similarity with pricing models: games end up feeling like there's always a sequel waiting in the distance, and writing primarily focuses on concepts that are reinforce subjective zeitgeist (war is hell, suffering is inherent, good people get the stick) while characters are merely vessels to acknowledge and absorb that regurgitation.
the whole focus on realism, while a nice benchmarking reference to our current technology, shouldn't be the ideal when it comes to creating games.
it doesnt matter how much i rant in the end of the day, it's audiences who choose to support the conventions they condition themselves to enjoy. until then, we sit idly until the next marginally imaginative game and proclaim "i wish we had more games like this"
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