By Robert Alan Brookey
For years, significant movie studios have authorized items relating to their most well liked motion pictures; game spin-offs became a big a part of those licensing practices. the place blockbuster movies are involved, the online game unencumber has turn into the rule of thumb instead of the exception. In Hollywood players, Robert Alan Brookey explores the company stipulations and technological advancements that experience facilitated the convergence of the movie and game industries. Brookey treats games as rhetorical texts and seriously examines a number of video games to figure out how particular business stipulations are occur in video game layout. one of the video games (and movies) mentioned are Lord of the jewelry, The Godfather, Spider-Man, and Iron Man.
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Additional resources for Hollywood Gamers: Digital Convergence in the Film and Video Game Industries
While I applaud research that views video games positively, I suggest that video game scholars should not eschew more critical perspectives, particularly when a critical perspective is warranted. For example, video games that are spin-offs of studio films are commercial products, and they serve an economic function. Video games are pleasurable; so are films. Indeed, the appeal of the video game spin-off resides in the assumption that playing the game will extend the pleasure of the film. Yet these video games also involve financial transactions in which money flows from consumers to film and video game producers.
After Gimli trains the player in various attack moves, a new cut scene appears, taking the action up to the walls of Helm’s Deep. The game introduces new types of enemies, new types of fighting, and more training. Again, the dialogue is more instructional than plot-driven and functions to discipline the player. While this discipline will supposedly yield results for the player in improved game performance, this tutorial hardly represents the free agency often associated with interactivity. The RK game is structured so that the player interacts through a character from the film (Gandalf) with another character from the film (Gimli).
Francis Ford Coppola refused to participate in the development of The Godfather video game, and his lack of involvement invites a reconsideration of authorship. Although Coppola’s authorship is closely associated with The Godfather franchise, the game allows the player to construct a new narrative that intersects the films’ narratives but stands apart from Coppola’s own. In this way, the game player’s agency supplants Coppola’s and thereby fulfills the interests of a studio that has had to confront an uncooperative director.
Hollywood Gamers: Digital Convergence in the Film and Video Game Industries by Robert Alan Brookey