PoP: weird and messy white-washing, racist stereotypes, etc. For example, the Resident Evil film franchise has dragged on despite (not because of) its quality, and Prince Of Persia: The Sands Of Time thankfully came to an abrupt halt (or hit a wall, you might say) at film one in 2010 following poor reviews.Įach of these four examples of game-to-film have their own unique problems ( Clue: a too-2D original universe. The Tomb Raiderfilms weren’t going to be the latest in a proud lineage… and they don’t have an impressive legacy now, either. And Mario made his misfire in 1993 with Super Mario Bros., a film hated by critics, the paying public, and even star Bob Hoskins himself. Tabletop gaming brought us 1985’s film adaptation of Clue, a favorite in culty-corners now, but a financial and critical flop when released. Game-to-film is a genre with a rep so bad it borders on the Uwe Boll, and understandably so. Which was the first problem – adapting a game to film. So where else could such a popular and well-known character go next but to the blockbusters, to film? Objectified, empowered, or somewhere in between, she’d become a brand as recognisable outside of the gaming community as Sonic and Mario, with models signed on as official real-world Laras (Rhona Mitra and Nell McAndrew were some who took on the mantle) to walk among us mortals during publicity drives for the games. New players looking back at her blocky body in the 1996 game might raise an eyebrow at the excitement (cough) she inspired back then, but something about Lara Croft as a character captured the cultural imagination, and it didn’t just hinge on the hot pants, or her bra size (though much has been written about both).
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