Lily and Lana Wachowski had a very concrete vision when they got forward matrix in the late 90s. They possibly intuited that the genres' blender, visual effects, the power of the concept or improvement of the bullet time-until now a malaria eccentricity that practiced successes As blade-they would connect without problem with the public, but they also trusted that it adjusted to a profile beyond minefield. The Wachowski did not want to limit matrix to the usual spectators, preferring the film to open to a wide audience, of diverse interests, to share with them their passion for movies and video games. MATRIX was born, in fact, of these passions in dialogue. It is the main reason why there has always been a tragedy that there are no good video games of matrix.
And it is not for not having tried. In 2005 Matrix: Path of Neo Faithfully adapted-except a slight change in climax-the argument of the movies, and without the game being anything from the other world, it was better received than the previous Matrix incursion in the middle. Two years before the Wachowski had simultaneously shot Matrix Reloaded and matrix revolutions with the intention that these sequela were not the only works in nourishing the continuity of the original film. The Wachowski devised a transmedia project, one of unappealable logics taking into account their Philips. The obvious kinship of matrix with the anime motivated an anthology of animated short films entitled aviatrix-with such illustrious firms as that of Peter Chung or Sh'inching Watanabe-, and in turn the kinship with the video games led to the development of Enter the matrix . The idea was to build a binder experience, where various branches of the same story grew by different means, so that the plot of Enter The Matrix filled the holes left by the films.
This is how we run into Mary Alice replacing the late Gloria Foster as the oracle before appearing in matrix revolutions. This is how the Wachowski, in a pioneering effort, rolled up to an hour of extra footage with the interpreters of the movies-not only with the protagonists Jada Pinkett Smith and Anthony Wong-, exclusively destined for the game. They sought to depart from the usual process of the graduated titles, according to which the film was as the main product and then a subsidiary study tried to finish the corresponding game on time. For the Wachowski everything was part of the same experience, in pursuit of the enjoyment of the new spectator/consumer of the 21st century. But Enter The Matrix did not go well. The development was too hurried, and the result was not up to the plan. We had to wait until last year, anticipating Matrix Resurrections, to run into the shocking Matrix Awakens , and even this was wrapped in a bittersweet taste. It was only one demo, consecrated to sell the benefits of Unreal Engine 5. The dream of the Wachowski was still not fulfilled.
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Enter the Matrix, however failed, sat down in the middle. In the early 2000s, when the graduated games enjoyed their greatest credibility levels, the Wachowski had rehearsed a promising strategy, according to which the starting film did not act as much of mold and of origin of a world to move around. No excessive plot restrictions, without the obligation to recreate what seen on the big screen.
A year after Enter The Matrix, Vin Diesel adopted the role of the Wachowski so that the chronicles of Rid dick: Butcher Bay escape Once the prequel of pitch black:The chronicles of Rid dick_, even if the latter reached Theaters at the same time as the game landed in stores. What happened with matrix also served as gasoline for an IP that had been flirting with these equivocal pairing, such as James Bond. Agent Under Fire and Night fire had collected the influence of the mythical Golden eye 007 to, replicating his gameplay, take the character to original missions, set out of the movies. But All or nothing , in 2004, was a blockbuster. The first person went to third as an eloquent gesture, because the illustrious cast they had summoned to lend faces and captures of movement would be better appreciated: Pierce Brosnan, Judi Dench and John Cheese, of course. Willem Dafoe, Shannon Elizabeth or Heidi Klum.
Everything or nothing was going so far in his impetus of being a new James Bond movie-one that simply arrived through a different window-that in a show of arrogance he connected his plot with previous stages of the character. The origin of the Willem Dafoe villain was located in panorama to kill, a film with Roger Moore, and thus acquired the idea of transmedia franchise that elucidated the Wachowski. A franchise that did not hesitate to take advantage of the premieres in cinemas to collect hangers, so that the publication of video games with original stories that could be understood as sequela or spin-offs. The thing was an early example, considering as a continuation of the eighties film with the blessing of John Carpenter. Mission Impossible: Operation Burma arrived in Rebuff de Mission impossible 2 without the face of Tom Cruise. And with the succession of generations the strategy remained fruitful, highlighting cases such as alien: isolation or a Mad max so sure of himself that he turned his back on the curia on the road of George Miller.
The advantages of this model were more than clear. Freedom could align with creative ambition, from the possible purpose of making the medium progress instead of staying in comfortable coordinates. According to the golden age of faithful graduate video games, buried by disinterest and inertia, the model was imposing, and could have it easier the broader the world was set. At least from theory. The Lord of the Rings presented considerable difficulties on account of the distribution of rights, with opposite (and exclusive) possibilities of adapting the legendarium of Tolkien, either the films of Peter Jackson produced by New Line. This in definition caused that, beyond the games of the two towers and the return of the king , the middle earth had a conflicting relationship with the medium, with titles such as The elderly having than to build the Estela de Jackson. In recent years Shadows of Mordor and his sequel seem to have straightened the pavilion, perhaps anxiously chasing the triumphs of other fame and performance franchises even greater.
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The transmedia model pursues a horizontality. It opposes that the licensed video game does not have weight on its own and intends to weave a relationship of equal to the source, which must be achieved through the individual valid of the title on duty. It illustrates, then, a cultural conquest of the video game; Just what the Wachowski wanted. But it is difficult to obtain those individual valid, and more if we moved to years before Enter The Matrix, when neither the medium was prepared to be governed by this new dialectic, nor the capitalist framework had an articulation capable of hosting it. The Simpson Wrestling It is an example of this and extremely illustrative by starting not a movie or a blockbuster saga, but of a television series. It was not very advisable to adapt the plot line of individual episodes, so he had no choice but to propose something more or less original.
The result: a wrestling proposal that criticism and players hated intensely in 2001. Of course that was not the first graduate game of the Simpson_. In a year as early as 1992 there had been one of these very strange symbiosis that, on the other hand, seem consubstantial to the transmedia model. Bart Simpson’s Escape from Camp Deadly Yes it seemed to follow the argument of a specific episode of the Matt Greening series; The problem was that Sacramento Rusty had not yet been issued. Without still from the Yellow Family, this type of occurrence was going to lose foot from The Simpson Wrestling, by handling Road Rage A much more solvent concept-robbed, and being demanded for it, of Crazy Taxi -, and be The Simpsons Hit & Run An admirable case of how to communicate a license with the specific advances of the environment. The Revolution GTA led to the birth of a Springfield that we could freely explore, located from a magnificent script that rivaled in ingenuity with those of the series without training direct winks to it. One year after the failure of Enter The Matrix, the Simpsons had achieved, perhaps without proposing it, triumphing with the transmedia.
It is true that they did it on a field that had already witnessed multiple training to which the Wachowski had not been alien. Within science fiction, the remembered Blade Runner of 1997 had located the detective adventure of him in parallel to the events described by Ridley Scott, but that was only the tip of the iceberg. Enter the Matrix was not, in short, as pioneer as it seemed, and consequently it is far from assuming to the one that other wide sagas such as the aforementioned The Lord of the Rings or Harry Potter seek to adjust. Because there is no more important reference than Star Wars. Whatever the scope of culture where we move, but especially if we talk about video games.
This is stated by John Tones: You could say that video games as popular entertainment and Star Wars were born at the same time. The temporal framework endorses it, and the industrial context made it possible. George Lucas's idea of paying as much attention to the merchandising as to the box office, quickly led to the birth of an expanded universe through novels and comics, generating the field of culture on which Lucasarts would later work. The study took his own, however, to focus on Star Wars; The first exponent of the transmedia benefits came from another creation of Lucas such as Indiana Jones. In 1989 the graphic adventure of Indiana Jones and the last crusade had such a good reception that, given the lack of intention of Steven Spielberg to make more films, Lucasarts resolved to mark an archaeologist's own adventure. Indiana Jones and the Fate of Atlantis emphasized the achievements of the last crusade, and these were even more celebrated. For more than the connection of Indiana Jones with the Point and click it was blurring from then The Fate of Atlantis is indelible, and infected its confidence to the Star Wars Games. Thus, * Lucasarts threw himself into the original plots of Star Wars in the early 90s, starting with * x-wing while the Dipstick Rebel Assault flirted with the interactive film, all in The documentary immediate of RNA Neva Esperanza. It coincided with the literary explosion of the expanded universe that had consolidated the trilogy of Thrown and that, ultimately, would lead to the greatest experiment of all. Star Wars: Shadows of the Empire had the ambition of a Star Wars movie, but its architects had set out to get the consequent scale without, properly, make a film. That's what comics, novels, video games were. Everyone coordinated so that the History of Shadows of the Empire, set between the Empire Contraataca_ and the return of the Jedi, followed through various media, erecting as the protagonist Dash Render while Han Solid languished frozen in carbonite.
Shadows of the empire worked better than Enter The Matrix could never do, and in 2008 he gave him a new transmedia project, organized under the title The power of force . They were not, however, the only achievements of Lucasarts in galactic field before Disney closed in 2013. From maturity in management and storytelling that had gathered the expanded universe, Knights of the Second Republic Escondido to fans with a story away from cinematographic chronology, the more attached to this Bounty Hunter served as prequel to The attack of the clones and the formula Battlefront became intergenerational. The good health of Star Wars in the video game is maintained by many business dizziness that crosses the brand and, overcoming the remodeling of the canon that brought the purchase of Lucasfilm at the hands of Disney, has chained a set of Lego games With the heir of shadows of the empire and the power of force that is still * Star Wars Jedi: Fallen Order. A Lucasarts change from company.
The achievements of Telltale Games have not only been proportional to those of Lucasarts, but have benefited from even more spaces to play. The Walking Dead O Game of Thrones found autonomy against the homonymous series, with a formula adaptable to any brand. Also, to one of as many ramifications as Guardians of the Galaxy , representing a genre that, in the current mainstream, overflows with great everything that could have meant Star Wars.
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The same year as e.t. The extra-terrestrial struggled to destroy Atari's finances, the company had some more luck with Spider-Man . It was 1982 when the treasures first jumped to the video game, through a minimalist but effective approach: we had to climb a facade dodging the pumps of the Green Goblin, and hitting along the way the bad guys who peeked through the windows. In the absence of a film that gave documentary skeleton the comics offered all kinds of possibilities and situations, which Batman also benefited before governing for Tim Burton's work in the game Ocean published in the late 80s. The trajectories of Spider-Man and Batman deliver the keys to define the genealogy of the superhero subject in the current video game, although it is true that it was Spider-Man who started carrying the lead.
It is tempting to identify Spider-Man 2 as the title that changed everything, but the truth is that this was just a culmination. The Spider-Man of the first PlayStation already boasted a fabulous understanding of the character, stuck-there was no other remedy-to the comics. The achievements of Spider-Man 2, aligned with the proposal of GTA and the aforementioned Hit & Run, inquired in the possibility of making us feel like Peter Parker by erecting New York as an open world where to swing was a Dionysian pleasure, and came to infect To another Marveling character in Incredible Hulk: Ultimate Destruction . The same year came as an even more round work than the sacrosanct Spider-Man 2, as was Ultimate Spider-Man. This title was supported by a masterpiece. The Spider-Man 2 format was maintained, but via CEL Shading brought together with the aesthetics of the comics-giving a narrative through vignettes capable of getting ahead of Heavy Rain -, it benefited from an original script by Brian Michael Bendis-artis of the Ultimate collection that had inspired everything-and also gave us the option of controlling Venom, resulting in a question of classic heroism much more suggestive than, two years later, Sam Rail would be able to do in spider-man 3.
Ultimate Spider-Man's shadow is more elongated than it seems. Without it, we would not have had Spider-Man: Shattered Dimensions entering the multiverse before the cinema paid attention to UN new universe or No Way Home. And, nevertheless, both Shattered Dimensions and his sequel, Edge of Time , they arrived at a point where he seemed inevitable to perceive them as Spider-Man's effort to recover leadership in his competition with Batman, having lost it in a way Irresistible with, yes, the party that brought Arkham Asylum .
Similarly to Ultimate Spider-Man, one of Arkham Asylum's secret weapons resided in his screenwriter. Paul Mini, arrived from the mythical batman: the animated series. But the achievements went further. In 2009, just one year after Lego Batman it occurred to him The script did not necessarily have to be the main thing. On the one hand-germinating the Spider-Man seed 2-the design of a world to move to your wide, replacing the balancing with the rappel, the planning layer or, in Arkham Knight as the worst incorporation received by far, the happy Leitmotif. On the other hand there is something more abstract, directly linked to the world's journey, such as pressure. There is nothing more important than the pressure if we talk about superhero video game, because it is something based on the superhero constitution itself, and in the way in which the playable fact can modify it. When we see a superhero in action, within a comic or a film, the relationship established is a model to follow. We enjoy admiring an entity that transcends us as human beings because he fights with codes unknown to us, likely to move to the status of God to which we can only thank that we save us instead of destroying ourselves. Everything changes if we go to the video game and interactivity enters.
_ Vivaria experience becomes fantasy of power_.
So the use of powers, concentrated in combat, is essential. Also touches like Batman's silhouette-with the irresistible underlined the mask's horns-or the wave of the layer but do not fool ourselves: the key is in the hosts. The calculated superiority that Rock steady gave us, giving us agency to generate spontaneous choreographies with a simple and intuitive system, led our link with superheroes to another level. Not only is it that superheroes are the undisputed protagonists of contemporary pop culture and that is why the video game echoes this: it is that the video game itself is an essential part of the phenomenon. Consequently, the Arkham have served as a compass for the most prolific expression, with overwhelming difference, of the graduated games. There were clumsy attempts, such as the exhausting Deadpool , but today appear Marvel’s Spider-Man and Morales Myers as honorable exponents, and to a lesser extent Marvel’s Guardians of the Galaxy . Even the denoted Avengers departed from an undoubted understanding of these assumptions, as their narrative progress is determined by the growing satisfaction of managing an avenger even more mold than the previous one.
On the Insomniac and Rock steady horizon, with their status of great responsible for the current splendor, they respectively prepare a Wolverine and a suicide squad . They almost manage to hide, but they do not do it at all, a variation of the somewhat uglier method. That which offers the worst face of the transmedia sleep of the Wachowski.
IV
The Arkham are not the only vehicles where Batman has prospered within the middle. There we have the LEGO or, expanding the DC catalog, Injustice: gods among us . The corresponding diptych has an argument of a certain complexity-one that leads us to a world where Superman has crazy and several old comrades have to stop it-but the execution is the most synthetic: they are fighting games to the style of Street Fighter or, significantly, Mortal Kombat . The link with Midway Games had already led, in 2008, to the launch of Mortal Kombat vs DC Universe , where the superheroes of the publishing house could exchange Quantizes with Sub-Zero and Company. It was not a groundbreaking concept, because Marvel had had similar winds from x-men vs street Fighter in 1996. The crossover, sponsored by grid logistics agreements and hungry headers, is almost as old as the video game per se. And goes far beyond canonical expressions such as Super Mario Kart or Super Mario Smash Bros.
In the early 2000 Disney and Square shared office building in Japan. It was a happy coincidence, because if not, perhaps something like Kingdom Hearts would never have emerged. Betsy Nora wondered how to find a format as enjoyable as Super Mario 64 , and his superiors intuited that for this it was best to populate well-known scenarios of well-known characters, they had control over them or not. Sort, the protagonist of the saga, would arise from a careful mixture between the imaginary that Square and Disney agreed to melt. Hair anime and languid face, exaggerated clothing with shoes and gloves in the purest Disney creature style. Sort would have to spend a lot of time in the company of Donald and Goofy, but also came from a world more similar to the geography of Final Fantasy , and depending on these mixtures, a colossal success franchise was born, and even more relevant even more colossal to analyze the drifts of graduated games. Henrique Age, in his video essay on the first Kingdom Hearts, attributes the evolution of the phenomenon to an intuition to mix baggage, from the convoluted and serious plots of Final Fantasy to what we could call Disney Spirit. At the same time that I would not disregard as normal Final Fantasy game, the tone of the game is immersed in the idea of an idealized childhood, in an eternal summer of innocence and warm melodies.
Kingdom Hearts has an independent identity of the brands that lit his birth, there is no doubt about that. Another issue is that this same identity depends totally on the pairing and IPS regurgitation; Age compares the bouillon lace made with Sort, necessary for both Disney an and Aquarian to look like Roger Rabbit's genesis for Robert Yemenis movie of 88. As the entire project depended on Warner and Disney's negotiations to combine on screen His creatures, Roger Rabbit had to reconcile the identity of both majors. He must be Bunny, and at the same time Mickey Mouse.
The identity of Kingdom Hearts is, thus, eminently derivative, of impossible liquidity, and is based on recognition. The story he tells is assaulted by the appearances of Cloud, Vivid or Effort while he has to pay the ungrateful toll of recreating the millimeter iconic scenes of Disney classics, reaching one extreme that not even the conventional graduate games-that were nothing better to make replicating the argument of previous films-they have been forced to respect. Kingdom Hearts offers the paradigm of how intellectual properties can devour the environment, and how fictions are now understood according to the deposits that house them. There are even more deserving titles of this bait for shareholders label, such as the locations of Bugs Bunny: Lost in Time Reviewing the story of the character or Epic Mickey Boarding the mouse with his Oswald ancestor The Lucky Rabbit, but Kingdom Hearts school is a priority, and has not stopped devaluing over the years.
Between the LEGO and the Kingdom Hearts-and subscribing some drifts that already attended in the first text of this study, while the lack of preambles that today requires combining the realization of video games with that of films-the medium has gone immersing themselves in an era where large companies go from the crossover punctual to the creation of self-combustible universes, examined here by Old Gutiérrez. Like any other facet of this phenomenon, standardization has arrived after an enforcing essay and error. In 2013, shortly after Joss When's avengers found that the conquer narrative could adjust to the blockbuster, the failed experiment of Marvel Heroes was launched, and the mouse house tried luck with Disney Infinity . In the successive expansions, flagged by physical toys, playable characters from Star Wars and Marvel were incorporated, from the properties that Disney piled up. Disney Infinity only lasted three years, but the recent launch of Disney Dream light Valley proves that it was only a warming.
In the cinema, the delicate juggling ofWho cheated Roger Rabbit? * To originate postmodern nightmares where John Wick exchanges shots with Iron Man while Rates runs into predator and a speech by Martin Luther King precedes the trailer of the new Christopher Nolan movie. The graduate video game has triumphed, in effect, and for this everything was as simple as the license would mean nothing.
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