June 30th, 2009
Ian Stevens from Tigon Studios has offered some details on the relationships engaged between films and games, these relations having in their turn some ups and downs along the way. Taking a film and turning it into a game reveals a difference based on the way each of them, film or game, offers the entertainment to the public; the interactive entertainment of the games compared to the passive one of the movies should bring the audience more filmed-based games, but unfortunately, the late releases didn’t measure up to the players’ expectations. All this happens because the filmic language is understood by the games’ producers as one that has to fit a commercial.
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The tale behind the games’ scene goes like this:
Lacking an outside model for games, gives the game producers restriction in releasing a game in a period of time that doesn’t allow them to improve the quality of the game or even its plot. And because of this aspect they need to be more respected since they struggle with technology, corporate business, other different things that prevent them from developing better games productions. Their activity is displayed between design and production and business development as well, which of course takes a lot of commitment and time.
Releasing a self-built game it involves a risky step but the game industry is striving to grow and attempts to bring innovations and quality through games that can be new and interesting, or simply good. The accent however must be put on this risk, even if some publishers are overreacting with making games to bring money, no matter what the cost! The setting of a deal both in developing and publishing it is based on looking for developers that have a new IP. After that a team comes in with its idea for a game and it is incorporated in building a franchise and a universe in order to resemble to a movie or animated series or whatever appropriate.
When Dark Athena was released it came as part of Activision/Vivendi merger, though Vivendi had this project worked with Taigon, but at the beginning it was merely a remake, a small project that in time proved to become a huge licensing deal than it was actually meant from the beginning. Releasing Dark Athena with an Activision merger was somewhat predictable, since the team over there is fond of brands and annualisation and Ian Stevens in his turn has many connections with the Activision team, since the time he had worked there.
Another exchange for publishers was made with the ‘Wheelman’, which went from Midway to Ubisoft. This game required a lot of work and everybody that was involved was anxious to see it on the store shelves, no matter its ending would be – good or bad. Being released as a Ubisoft-published product brought the producers a lot of excitement to see that their product made the object of a deal with Ubisoft, a very respected publisher. What is there more rewarding for a game producer if not a well-known publisher to be interested in running his game?