The Witcher

Henry Cavill takes on a new role of Riva’s witch Geralt for the new series on Netflix. Although The Witcher series is not based on the games, but on the books of the author Andrzej Sapkowski, fans of the cd Projekt series are looking forward to some familiar scenes. For example, the famous bathtub scene from Witcher 3 is not to be missed.

GameStar’s Maurice Weber is impressed by the Witcher series on Netflix in his extensive series review for the first season, but it is far from perfect:

The series has many strengths, no question. It is in many ways a great implementation of the Witcher fabric, especially from Geralt himself. It shows us a cool fantasy world and tells some interesting stories in the so many. But the story, though often cleverly constructed, just doesn’t flow as well as it should.

Sonic the Hedgehog

Sega’s popular Jump ‘n’ Run game Sonic the Hedgehog is filmed as a mix of real-life film and CGI characters, with an animated title hero. Many other well-known characters and characters from the classic game also get into the film story, like the very popular villain Dr. Robotnik, played by Jim Carrey.

However, Sonic’s new design with fur and human teeth made the fans of the game furious. The director of the film promised that he will do some adjustments.

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Monster Hunter

Paul W.S. Anderson, the director of the six-part film adaptation Resident Evil, devotes himself to another template of Capcom: His wife Milla Jovovich also takes the lead role in Monster Hunter and takes on monsters and gigantic beings.

According to the first story details, the Monster Hunter film is about a UN military force (which also includes Milla Jovovich) who suddenly find themselves in a different dimension and meet giant monsters and their hunters.

Uncharted

Sony is known to be working on a game adaptation of its successful series Uncharted. The film project has been in development for some time and has already undergone some reshuffles.

In the meantime, the plot of the film has been adapted: instead of the movie, as in the game series, the young Nathan Drake and his first great adventure are at the center of the story. The young hero is played by Tom Holland, who is currently swinging through the Marvel movies as a young Spider-Man. At his side, Mark Wahlberg takes on the role of Drake’s mentor Victor ‘Sully’ Sullivan. A further cast has not yet been determined.

Call of Duty

A feature adaptation of Activision Blizzard’s successful Call of Duty series has also been planned for years. In the meantime, the game developer has founded his own film studio and is planning an extensive film universe.

The first Call of Duty film is currently in the works, the script is ready and filming is scheduled to begin in early 2019. It is directed by Stefano Sollima (Sicario 2), while the screenplay is directed by Kieran Fitzgerald (Snowden). No line-up has yet been determined.

Meanwhile, Activision Blizzard has announced a second Call of Duty film, for which Joe Robert Cole (Black Panther) will write the screenplay. There is no director yet. Not much is known about production, either.

In its fourth problem G|A|M|E interrogates the intricate connections between video games and theatre, revising and representing on a subject controversially debated within the previous ten decades. The association between both of these websites is layered and they’ve connected not only via their textual fabric also in their clinics and the concepts which accompany them. Over fifteen decades before, at a seminal piece printed on Film Quarterly, Mark J. P. Wolf pointed in the connection between cinema and video games outside’ characters and plotlines’ such as aesthetics, visual codes, iconographies, clinics, societal areas. The link between video games and theatre is reflected by the chemical noun that provides the title to the moderate one, but both also reveal similar generation versions, sharing specialist characters and displaying recognizable consumption behaviors. Check out buy wow accounts to know more about gaming.

Games and Cinema

The analysis of the connection between cinema and video games is closely joined to the growth of game research as a field, and it has become a part of this disagreement on the standing of video games as a part of academic analysis, focusing on the definition of methodologies and concepts connected with that. Actually, during the previous two decades theater became a privileged means to get video games in popular discourses. Researchers and scientists in matches research developed a solid awareness of the issues inherent to this relative approach, resulting in the problems within academic contexts. Torn between the need to develop an independent area of research as well as the interdisciplinary vocation of this field, game research developed a feeling towards this connection, frequently debated in the margins of just one or another area. The intricacy of the debate is dictated both by the character of the video game as a layered medium that eludes closed definitions two but also by the practice of discussion between the subjects involved. Most importantly, the debate took the kind of resistance between conventional areas of knowledge and the definition of a brand new field of investigation effective at creating an autochthonous field specializing in the brand new medium.

One of the contributors to this argument, Espen Aarseth (2004) emphasized the requirement to come up with independent tools of research apt to tackle certain traits that lacked to be underplayed in the adaptation of preexisting theoretical models directly implemented from other recognized fields, calling to an understanding of video games at the respect of the main ludic function. Specifically, the resistance between the ludic natures of video games along with their story aspiration (Murray, 1997) generated an argument that was basic to the definition of sports research as a subject and its object of analysis. Whether this battle ever occurred or not, its perception affected the maturation of the area and its disposition towards particular approaches. On the flip side, the immunity generated inside the statement of independence of sports researches only paired together with the problem of film scholars to participate with the new moderate, thanks to both to the absence of appropriate analytical and theoretical instruments and into the skepticism towards its artistic potential. This scenario caused the dismissal of video games in the custom of research on the moving picture. But authors like David Bolter and Richard Grusin (2000), Lev Manovich (2001) pointed in the prospect of framing these media inside a broader audiovisual convention, tracing connections across their contents, structures, and methods capable of surpassing compartmentalized moderate certain positions.

On a first degree, game studies involve an updated manifestation on which Wolf and Perron call the methodological concept. After half a century, movie studies created a constellation of concepts that pay the ontological and phenomenological nature of the medium, its practices, its representative plans, its history, and historiographical price, and also the politics attached to it, ultimately resulting in question its methodological assumptions. Can the cinematic theoretical corpus contribute to the growth of game research? In that case, what would be the probable intersections between these areas? What more could find out about video games through the lens of film research?

On another level, people would like to look into the qualities of both of this networking, their similarities, and differences concerning aesthetics, practices, and creation. Nearly all the research on this subject assume that the story quality of the cinematic medium, focusing on the continuity between those media concerning genres, tropes, and iconography. This premise is problematic and in need of renegotiation. If on the 1 hand, it’s correct that the cinematic nature of video games is frequently represented by its storyline and prejudice that is spectacular, on the other hand, it’s likely to rethink the interplay between both of these websites in various ways. By way of instance, by positioning video games over the history of spectacular attractions and media to which additionally cinema belongs. It’s then possible to frame that moderate inside the convention that joins shadow play theater to the magic lantern and, then, to ancient theater and apparatus such as bettering vision.