Three decades is a long time to try and get something right. Yet despite millions of dollars, piles of scripts, a revolving door of passionate talent, and more than 40 attempts (and counting), Hollywood just can’t seem to figure out the secret of how to make a film adaptation of a
There are several reasons why the jump from video games to the big screen is so difficult. There are studio bigwigs meddling with the creative process, not enough budget, the struggle to condense hours of
Making a film is already difficult enough, and it’s even more of an uphill struggle for a
As a result, we end up with, well, what we’ve been getting since 1993’s Super Mario Bros. Just take one look at Rotten Tomatoes and/or Metacritic to see how each
But it seems like we’ve hit a turning point where it seems like things are finally – finally – trending upward and the whole ‘video game adaptations suck’ stigma is slowly going away. And funnily enough, it was television that cracked the code before film did.
At the same time we were getting so-so films like Assassin’s Creed, Tomb Raider (the reboot, not the Angelina Jolie films), Monster Hunter, Sonic The Hedgehog, and Uncharted, we’ve seen the release of several critically well-received television adaptations of popular
Read: Every major video game adaptation in the works at Netflix
So what’s up?
The big question here is: why are television series adaptations of video games so much better than film? In short, as hinted at already, there’s too much source material for a film script, alongside the hurdle of translating an active user experience to a passive one.
Films are meant to be brisk and broken down cleanly into three acts, hence why screenplays are only about 110 pages (one page roughly correlates to one minute of screentime) and are arguably the most minimalistic form of writing that doesn’t involve tweeting funny one-liners. But
As such, adapting a several-thousand-page
The only way film adaptations of video games will work is if there are several instalments, but there’s almost no way that’ll ever happen, since it requires audiences to fully buy into a first film that is essentially all set up for the sequels and for each film to make ridiculous amounts of money at the box office. The only entity capable of doing anything remotely close to this at the moment is Marvel, and even they aren’t completely immune to creative issues and diminishing financial returns.
The inevitable culling of important elements in a
Read: Mortal Kombat – Leaving behind the Anglo-American-looking Blockbuster
But with television, the limitations of the film medium are no longer as pronounced. With around 10 or so hour-long episodes per season to play with (that’s about 600 pages of script), there’s far more creative freedom and runtime leeway to properly adapt the important aspects of the source material with less compromise.
More importantly, the extra page count afforded by television allows the writers to address the active-to-passive user experience problem by incorporating extra-but-vital character work.
You are an active participant when you play a
The passive experience
Television and film puts you into a more passive role, where you relinquish that level of control and instead you’re being asked to follow a protagonist who is essentially an audience surrogate. This requires the protagonist to not only be fleshed out and well-characterised, so that viewers can not only root for them, but to also live up to the preconceived notion of what fans think the protagonist ‘should be’ based on their experience.
That’s a difficult line to walk, but it is far better realised in television and film due to the expanded scope afforded by lengthier runtimes and scripts.
This is not to say television is the foolproof answer to a great
With so many more television projects in the works (ranging from Disco Elysium and Life Is Strange to God of War and Fallout), it remains to be seen whether the high bar set in recent years can be maintained – but it’s looking pretty promising.
Here’s a taster of just some of the
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