But there are deeper issues than simply always a bit distracted. A central point is that the linear content of similar quality often the starting material. Assassin 's Creed, the game is an amazingly rich and detailed interactive universe, but the Novelisation, Assassin' s Creed: Renaissance, is heavy, stiff and boring.
THQ 's cable-TV movie Red Faction: Origins is okay, but the lower costs of production values ??create an enormous aesthetic gap between the linear and video-game interpretations. The Mortal Kombat webisodes were a bit of fun (and certainly popular, attracting more than 5m, the first views in a week), but how much do we really need to exist at a number of characters that only know each other kick 's minds in and rip a few spines?
Certainly there have been examples where reasonably well-known authors and filmmakers were designed to tie-ins was to produce this kind of work. Renowned science fiction author Greg Bear made available by Microsoft Halo: Cryptum, while EA used Chris Ryan for his Medal of Honor book, just to bring in SAS Novelisation oldboy Andy McNabb to pin the Battlefield.
At least they have the form and position in the military thriller genre. On the way there 'sa movie conversion script by heavy rain, Deadwood and NYPD Blue writer David Milch - and, of course, THQ Guillermo del Toro monitoring insane upcoming survival horror title, and he could also direct a movie-tie in.
Plus, as THQ, Ubisoft and Namco Bandai are publishers now have more creative control with tie-ins, setting up their own film production to more poor symmetry between linear and interactive interpretations.
Game designers must never lose sight of the fact that the gamer, through applying his or her own wit, knowledge and abilities to a game world, fundamentally shapes that world for themselves.
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