Fast food is a competitive industry. Advertising in the industry isn’t to let people know the companies exist; the average person can name a number of fast food restaurants off the top of their head. The goal of the advertising is to get people talking and possibly wanting fast food in the moment. Product placement is always a possibility, though it may backfire as shown with *Mac and Me*[https://psychodrivein.com/lost-in-translation-276-remaking-mystery-science-theater-3000-the-gauntlet/].
Along the way, some marketing execs figured that the best way to reach a target audience was to provide what that audience likes. The catch is to keep the cost of access negligible. The results include three X-Box and X-Box 360 video games featuring the Burger King, Wendy’s tabletop RPG[https://psychodrivein.com/lost-in-translation-313-feast-of-legends/], Arby’s anime-inspired Twitter account, and a KFC dating sim. Burger King was the only one of that list to charge, and even then, it was under $4.00, far below the average price of a new X-Box/X-Box 360 in 2006. The rest are at no cost to the target audience.
KFC began from humble roots in 1930, as Harland Sanders served fried chicken alongside country ham and steak at the Sanders’ Cafe in Corbin, Kentucky, across from a gas station where he began with just the ham and steak for truckers. Sanders started using a pressure cooker to seal in his secret recipe of eleven herbs and spices[https://twitter.com/kfc/following]. Sanders’ Cafe was included in a 1935 road-food guide. Original Recipe, as the blend of herbs and spices used today are known, was perfected in 1940. The success of Sanders’ fried chicken led to him receiving the honorary title of Colonel from the Governor of Kentucky in 1950, leading Sanders to wear the white suit and black bow tie he became known for.
The first franchise was created in 1952 in South Salt Lake, Utah. When a highway bypassed Corbin in 1955, Sanders’ Cafe shut down due to a lack of travellers. Colonel Sanders sold the property and travelled across the US to sell more franchises, gaining the name Kentucky Fried Chicken in the process. Sanders became the face of the franchise until, even appearing in ads until his death in 1980. Afterwards, an animated Colonel Sanders was introduced in 1998 as a mascot for the brand. As much as Colonel Sanders had issues with how the brand was handled after he sold it off, he is still even today a part of it, with his likeness on boxes and barrels, one of the rare fast food mascots based on a real person.
As new generations are born and grow up, new ways to get their attention are needed. Dating sims originated in their current form in Japan in 1992 and made in-roads to North America riding with waves of anime series. The goal of a dating sim is to romance one or more potential match ups. The games tend to take time as the player works magic on the preferred romantic partner. What better way to promote a brand than by having players try to romance Colonel Sanders?
Have players romance a sexy Colonel Sanders.
KFC commissioned Psyop to create a dating sim, *I Love You, Colonel Saunders! A Finger Lickin’ Good Dating Simulator*[https://store.steampowered.com/app/1121910/I_Love_You_Colonel_Sanders_A_Finger_Lickin_Good_Dating_Simulator/]. The game was released in 2019 and available for free on Steam. The player is a student at the University of Cooking School: Academy of Learning, a prestigious school where the top chefs learn and compete. Naturally, there are rivals, including Aeshleigh, who has an extra letter in her name just because, her right-hand man Van Van the Man Man. They have a definite Team Rocket[https://www.youtube.com/watch?v=ib084tzN8H0] vibe. Van Van even shows a *JoJo`s Bizarre Adventure* influence
Fortunately, the player has their best friend, Miriam, who wants to become the foremost tiny food chef, in their corner. On the sidelines are Pop, Clank, and a student, with Spinkles, aka Professor Dog, teaching the three-day trimester. Rounding out the cast is, of course, sexy Colonel Harland Sanders. The game plays quickly, taking about an hour to complete a play-through. There are unexpected twists and challenges, but the game’s goal is brand identification. Naturally, KFC’s menu gets mentioned.
The designers could have just created a generic dating sim and used the likeness of the Colonel, but *I Love You, Colonel Sanders* took a few extra steps. The game is over the top, revelling in audacity. Underneath the audacity, though, are facts about KFC and its founder. The real Harland Sanders had a full life, and the game just scratches the surface, but the details are there if the romance is successful.
Psyop put in an effort to portray the game’s Col. Sanders accurately. The real Harland Sanders was passionate about his fried chicken, complaining when PepsiCo and, later, Yum bought the company, to the point where he still had control over franchises in Canada. The game’s version is as passionate, exaggerated a little but still coming from the same place. The character’s appearance reflected the white suit and black string tie Sanders wore he was granted his honorary title. The two herbs and spices that are revealed but still redacted are the two Sanders admitted to. The game has a heart, and that heart is Colonel Sanders.
Lost in Translation has covered BattleTech before, reviewing the animated series and seeing how the setting could be adapted. This time around, it’s a look at how the game’s mechanics can be adapted.
BattleTech, at its core, is a wargame featuring giant robots stomping across the battlefield. The BattleMech is the king of the battlefield, carrying a number of weapons capable of melting a light tank. The game’s draw is having these massive mecha battle each other across a map. To this end, the game comes with a number of pre-made BattleMechs, but there are rules for players to design their own.
The mechanics allow for a range of weapons, including three sizes of lasers, a particle projection cannon, two types of missiles – long and short range – which can come configured in different sizes of launchers. To deal with infantry, there is also machine guns and flamers. In the 31st century, war crimes happen. Each different weapon does a set amount of damage that whittles away the enemy ‘Mech’s armour. Once the armour is breached, the internal structure can be damaged, with components, like arm and leg actuators or weapons and ammo, can be destroyed. Destroying ammunition can potentially destroy the location it’s in. Destroy the head or centre torso of a ‘Mech and it is down for good.
Turns are broken down into phases. Whichever side wins initiative can decide who moves first. Each side then, by initiative, then moves a number of their ‘Mechs, trying to get into a good position. Once all the BattleMechs are done moving, the shooting phase starts. Shooting is considered to be simultaneous, so no ‘Mech takes the effects of weapons lost during the phase. After all the shooting has been done, if two ‘Mechs are close enough, they can try to punch or kick each other. Finally, all the effects of being hit can take effect, with piloting rolls to stay upright and heat management taken care of. If a ‘Mech runs too hot, it can shut down, and even lower amounts of heat can slow a ‘Mech down and make it harder to hit with weapons. The game continues until one side is eliminated, achieves a mission goal, or the players run out of time for the game.
There are tactics and strategies to be considered. Should a light ‘Mech be sent ahead to draw out enemy forces and risk destruction, or should the slower ‘Mechs walk up? Even choosing which BattleMechs to use can make a difference. Sure, there’s an UrbanMech variant, the SuburbanMech, that carries a PPC and is speedy for an Urbie, but it’s still slow and light compared to a Panther, which also carries a PPC but is faster.
With all the moving parts involved, automating it is a natural next step. There have been video games in the past, including the MechWarrior series, but they’ve been focused on putting the player into the cockpit of a BattleMech. Harebrained Schemes’ 2018 release, simply called BattleTech corrects that oversight. Headed up by Jordan Weisman, one of the original creators of the wargame, the video game allows a player to create a lance of ‘Mechs to then take into battle.
The video game has three different modes of game play. The first is the Campaign mode, where the player goes through a storyline involved the fall and restoration of House Amano in the Aurigan Coalition, a minor Periphery nation. The player starts with a mix of medium and light ‘Mechs and can take mercenary contracts while also doing missions for the head of House Amano to restore her rightful place. The second is Career, which is purely a mercenary campaign without the story related missions from the campiagn. The third is Skirmish, which allows a player to take on the AI or play against another player.
In all three modes, the core game play is lance versus lance BattleMech fights. Initiative is decided by Mech size and character piloting skills. In Campaign and Career modes, players can improve the piloting, gunenry, tactical, and guts skills of their unit. With Skirmish, players can choose from a roster of pilots with varying skills. Once the player’s lance has made contact with the enemy, whether AI or player, initiative determines who moves when. Faster ‘Mechs tend to move sooner than heavier, and the piloting skill can affect the score further.
Instead of separating move and shooting into separate phases, each pilot on his or her turn can move then shoot. Manoeuvring becomes key; a ‘Mech’s rear armour tends to be thinner than in front. Cover and movement help in not getting hit by enemy fire. Heat management is still important, and different types of worlds can affect how fast heat is dissipated.
The game comes with a wide range of BattleMechs with at least one variant per ‘Mech. It is also possible to modify ‘Mech, exchanging weapons to match a player’s preference. The only limit is the ‘Mech’s tonnage and, in Campaign and Career modes, available budget. A Locust with a PPC is, in theory, possible, but the trade-off may be having paper-thin armour. Not every published BattleMech is in the game. The designers started the storyline in 3025, well before the Clans invaded the Inner Sphere. ‘Mechs are being added with DLC that expands not just the choice of BattleMechs but adding to Campaign and Career modes.
The video game emulates the wargame well, even taking into account changes that the new format requires. The BattleMechs look like they do in the books and as miniatures. Urbies are appropriately slow, and assault ‘Mechs are an absolute monster to take on. The computer does the heavy lifting of tracking expendables and damage and calculating whether a shot hits. What could take a full evening to play with friends takes an hour or so. There is a challenge when playing against the AI, and there is a variety of battlefields to choose. In Campaign and Career modes, the option to change a unit’s colours appears as a desk with minis being painted.
The BattleTech video game achieves what it set out to do, emulate the tabletop wargame, taking care of all the fiddly parts while letting players enjoy stompy robot fun.
It’s almost a truism that video game adaptations are horrible, The early entries set the tone. The problem for most of these adaptations is that what works for game play doesn’t work as a narrative, especially with older games. Pac-Man was about gobbling dots and running away from ghosts; characterization is minimal; Super Mario Bros. is about travelling through a series of death traps to find a missing princess. Naturally, there are exceptions.
Meanwhile, educational software exists to teach a subject, not necessarily be memorable. Oregon Trail, one of the earliest educational computer games, first released in 1971, is memorable because of the difficulty of getting across the continental US in the mid-1800s. The difficulty was what the game was teaching. Gamification helps students learn concepts, from history to typing to geography. While Oregon Trail is memorable, it really only appeared in schools. Where in the World Is Carmen Sandiego, however, was commercially available and not only became a hit, it became a franchise.
The original Where in the World Is Carmen Sandiego was created and released in 1985 by Brøderbund as a way to teach geography and research skills to children aged 8 to 12. The player, who was considered to be an agent for the Acme Detective Agency, had to decipher clues left by Carmen and her henchmen to figure out where they were and what they were about to do, all based on real world geography. Each successful case brought the player closer to Carmen herself. The names given to characters were all based on puns, starting a trend that continues through the franchise. The original game sold well for Brøderbund, leading to sequels including Where in the USA is Carmen Sandiego in 1986, Where in Europe is Carmen Sandiego in 1988, and Where in Time is Carmen Sandiego in 1989, the last one adding history to the education provided.
As seen with many adaptations, if a work gets popular, someone will want to adapt it into a different medium. With Carmen, the core premise – a detective tracking down a master criminal – lends itself to adaptation far better than eating dots. However, the game is meant to be educational, so the first network to pick it up was PBS, the Public Broadcasting Service. The result was a TV game show for kids the same age as the computer game aimed for with Lynne Thigpen as the Chief and Greg Lee as the host, and the theme song by Rockapella. The players were agents for the Acme Detective Agency, tracking Carmen and her henchmen around the world. similar to the original game, though in a competition. The game show ran from 1991 to 1995, winning several Daytime Emmy awards and a Peabody before becoming Where in Time is Carmen Sandiego from 1996 to 1997.
While the game show aired, a series of eight books based on the video games were published. Written by John Peel, the books were a series of “choose your own adventure” novels using the titles of the video games. Peel kept to the tradition of puns for the names of his crooks as, once again, the reader became the Acme Detective Agency agent assigned to track Carmen and her henchmen as they left clues around the world.
By the mid-Ninties, Carmen was a household word. The inevitable happened and DiC studios produced an animated adaptation for Saturday mornings on Fox. The creators, aware of the violence in the other series Fox aired, such as X-Men, were concerned, but DiC created Where on Earth Is Carmen Sandiego without relying on or using violence to solve a problem. Replacing the player were siblings Zack (voiced by Scott Melville) and Ivy (Jennifer Hale), a pair of Acme agents charged with tracking down Carmen, voiced by Rita Moreno, and her army of henchmen. This time, instead of just being a master thief working for VILE, Carmen is a former Acme agent and steals for the challenge of the theft. This series would be the first where Carmen had a voice instead of just being glimpsed. With the new series, a new theme song based on a work by Mozart. The cartoon won a Daytime Emmy for Outstanding Children’s Animated Program in 1995.
Through every iteration, while Carmen has been the subject of the work, she wasn’t the star. For the games, the main character was the player, chasing Carmen and her crew. With the adaptations, it was the same thing, Carmen was the thief to be caught and not the lead character. However, with no Carmen, there’s no adaptation. The eternal chase is a valid approach to entertainment, ranging from Road Runner cartoons through to The Pink Panther movies, which focused on a bumbling detective searching for a thief. The format can get stale when overused. No one is hoping that Wile E. Coyote catches the Road Runner; that’s the end of the series. A villain who always gets away can get old, especially over a long run; see also, Batman and the Joker.
However, it is possible to turn the eternal chase around, focusing on the pursued instead of the pursuer. The gentleman thief, motivated by the challenge or by a personal code of morals and honour, has appeared in literature, film, and television. Arsène Lupin, Danny Ocean and his team in Ocean’s Eleven, Leslie Charteris’ The Saint, the Leverage crew, and Hitomi, Rui, and Ai from the manga Cat’s Eye show the range of gentleman and gentlewoman thieves in entertainment. The draw is competence porn, watching an expert do their job well, while still being able to root for the hero even if the hero is breaking the law.
With a show aimed at children, there’s a fine line to tread. There are few people who want to be responsible for telling kids that it’s okay to steal. Carmen Sandiego, though, is a master thief. Every adaptation has kept her as a master thief. It’s one of the character’s defining elements, along with the red hat and trench coat. At the same time, Carmen is the draw. It’s a delicate balance. Enter Netflix.
In 2019, Netflix, Houghton Mifflin Harcourt, and DHX Media teamed up to bring Carmen Sandiego back to television with the series Carmen Sandiego. Carmen (Gina Rodriguez), with the help of white hat hacker Player (Finn Wolfhard) and siblings Ivy (Abby Trott) and Zack (Michael Hawley), is turning the tables on VILE, stealing artifacts from them to return to their rightful owners. Carmen is still being chased, but she’s now the lead, not the pursuers. She is still a master thief, one who steals without hurting anyone, even if they are from VILE.
The first two episodes go into who in the world is Carmen Sandiego. After a successful theft under the eyes of Interpol agents Chase Devineaux (Rafael Petardi) and Julia Argent (Charlet Chung) in Poiteiers, France, Carmen gets tracked down by former classmate and VILE thief, Gray (Michael Goldsmith). She and Gray were in the same class at VILE’s academy for thieves, along with four other recruits. At the time, Carmen was known as Black Sheep, a temporary code name until graduation. While Gray and her other classmates were recruits, Carmen grew up on VILE’s island. Coach Brunt (Mary Elizabeth McGlynn) took Carmen in as a baby and encouraged her in learning about the world and how to steal. Despite her age, Carmen was one of the top thieves despite not being a student. VILE’s head council votes to accept her as a student.
As she grew up, Carmen engaged in a number of pranks, culminating with the annual water balloon bombing of VILE’s accountant, Cookie Booker, voiced by Rita Moreno. In one of the bombings, Cookie dropped her smartphone without noticing. Carmen did notice and grabbed it to add to her small stash of items. Any sort of cell phone is verboten for students to have on VILE’s island, though, so when it rings, Carmen is startled and answers it to get to be quiet. At the other end of the line is Player, a white hat hacker from Niagara Falls. While Player was just trying to let someone know of an exploitable hole in security, he and Carmen build a friendship over the phone over the years. She teaches him about different cultures through people passing through the island and he teaches her about the nature of white hat hackerism.
When it’s time for the final exams, Carmen aces all but one test. The one she failed, she believes Shadow-san (Paul Nakauchi) deliberately set her up to fail. She’s told she’s not allowed to go with her classmates on their first mission, but Carmen wasn’t always one for rules. Carmen sneaks on board VILE’s helicopter, stowing away. The catch is that she wasn’t there for the briefing or the planning session, where the way to the crime scene was by parachute. Carmen hitches a ride with Grey on the way down, though and runs off to try to find VILE’s target, an archaeological dig that has unearthed the Eye of Vishnu.
Talking with the archaeologist lets Carmen discover that there is something more valuable than money, knowledge. Before she can get too far into a discussion, though, her classmates arrive. They knock out the workers onsite, but are spotted by Carmen and the archeologist. The orders the new VILE thieves have include the command, “No witnesses.” Carmen, though, can’t let that happen and fights against her former classmates.
Carmen loses the fight and is brought back to VILE’s island. She’s forced to repeat her final year. During this time, though, Carmen plots a way to get off the island with the help of Player. Her goal, to not just escape, but to take the hard drive Cookie delivers once a year. Barring the helicopter, Cookie’s boat is the only way off the island. Carmen steals the hard drive, steals Cookie’s red hat and coat, and gets her name.
Back in the present, Carmen deals with her former classmate and friend Grey. Chase has managed to keep up with the two despite the damage he’s done to his car during the pursuit. Instead of Carmen, he gets Grey. Back at the crime scene, Julia discovers that nothing of value was stolen even though Carmen was seen with a sack holding something. Julia doesn’t have proof, but given that the vault holding the Eye of Vishnu also contained several other stolen objects, and that the owner of the building, a numbered company, was also the registered owner of a number of other locations that Carmen has hit, she believes that Carmen isn’t the usual thief and may have a goal of getting stolen items returned to their rightful owners. Why else would a thief be so brazen to wear red and let herself be seen by Interpol agents?
Over the rest of the episodes, Carmen maintains her private war against VILE. She’s not the only one after them; a secretive group called ACME, headed by the Chief (Dawnn Lewis) is trying to find proof of VILE’s existence. Carmen is the only link they have and Chase is the only Interpol agent who can identify her. ACME recruits Chase and Julia to find both Carmen and VILE. Chase is driven to arrest the infamous thief to the point where he is oblivious to senior VILE personnel when he’s in the middle of them. Julia is the brains of the partnership. but she isn’t able to maintain the pursuit to the degree Chase can. Both become valuable gumshoes for ACME.
The biggest change in the new Carmen Sandiego is that Carmen, the draw of the franchise, is finally the lead. The games, from first release in 1985 to the Google Earth game, and even in the animated series, Carmen was the pursued, but the main characters were the detectives after her, from the game’s player to stand-ins for them. The series doesn’t ask where Carmen is but who Carmen is. VILE is still the villain and ACME is back as the primary agency hunting. Dawnn Lewis’ Chief is modelled off Lynne Thigpen’s from the game show.
The series is aimed at the same age group the original games, the PBS game show, and even the DiC animated series were. This time around, though, there’s a few extras for the parents of the new audience, people who played the games or watched the shows in the Eighties and Nineties. Little references here and there, ones that can be shared with the younger generation, pop up in the course of the series, including a They Might Be Giants one in the first episode.
The new Carmen is still an educational series, focusing on geography and cultures around the world. The lessons tie into the plot of the episode, giving the reason why VILE has the evil scheme and why Carmen wants to stop them. The presentation of the facts come from both Carmen and Player, who share an interest in cultures not their own. Accents are genuine, though presented as to be understood by the young audience. The characters are diverse; Interpol, ACME, and VILE are all equal opportunity employers.
The pun-based names have been eased back a bit, but they still exist, if a bit more subtle. Grey had to be dissuaded from calling himself Graham Crackle. Cookie Booker, the accountant and bookkeeper, cooks VILE’s books. Paper Star (Kimiko Glenn) throws star-shaped origami shuriken. Dr. Saira Bellum (Sharon Muthu) is on VILE’s head council and is their technical expert and inventor. Chase is dogged in his pursuit of Carmen. The spy and snitch Mime Bomb is a mime (and, thus, has no voice actor).
The new Carmen solves the big problem of the eternal pursuit; if the pursued is caught, what happens to the series? With Carmen as the lead, the audience doesn’t have to deal with the main characters constantly being eluded despite all their efforts. The series allows the audience to root for Carmen, so the tension isn’t will this be the episode where she gets caught but how close will she get to being caught before she escapes. Carmen herself is shown to be competent and capable, so any gumshoe who gets close enough to see her let alone try to arrest her will be a worthy challenger. Chase, for all his shortcomings, is still a capable agent. Julia shores up the skills Chase is missing. Combined, the two give Carmen a challenge.
The series, while being its own work, gives nods to previous versions. The new Carmen received advice from Cookie, played by the first actor to give the character a voice. Carmen also steals her signature red hat and coat from Cookie, further cementing the hand off to the new generation. Player is a nod not just to the people who played the games but to the kid seen at the beginning of episodes of the DiC series. The theme music from the DiC series makes an appearance as elevator music. The new Carmen has more violence, with her and VILE agents battling it out. Most of the time, though, the VILE agents initiate the fights against Carmen and her team. Carmen is a thief, not a thug.
Carmen Sandiego is its own work, but it builds upon the franchise in such a way to be part of it instead of separate. Placing Carmen as the lead allows for the series to tell new stories while still bringing the elements that are expected of it.
Thanks to some early entries in the field, video game movies aren’t appreciated. Super Mario Bros. is one of the big offenders, having been a poor adaptation of the source material. Mortal Kombat was the exception when it came out in 1995, but video game adaptations were still done through licensing arrangements with a studio, placing how the game appears completely out of the original publisher’s hands. In 2001, a game publisher decided to try its hand at making their own film adaptation
Square had great success with its Final Fantasy line of video games. Created by Hironobu Sakaguchi in 1987, the first Final Fantasy was available on the Nintendo Entertainment System and localized for the US in 1990. The next two installments of the game, FFII in 1988 and FFIII in 1990, were released only in Japan. The two games weren’t so much sequels as new stories exploring the same themes as the first, setting a pattern for the rest of the series. When FFIV came out in 1991, it was for the Super Nintendo and released in the US as FFII. FFV was a Japan-only release in 1992 and had a sequel, Final Fantasy: Legend of the Cryptids. FFVI came out in 1994 with an American release as FFIII.
Up to this point, the series was two-dimensional sprites; the draw was the story-telling with the game play. In 1997, with the introduction of the PlayStation, FFVII moved to three-dimensional characters and a more modern setting. The game also retained its numbering in the American release. Square followed up with FFVIII in 1999, turning the setting into more of a planetary romance with a mix of magic and technology with a hint that the world had avanced since the end of FFVII. FFIX rounds out the original PlayStation console games, coming out in 2001 and moving the setting back to fantasy. As newer consoles came out, Square and, after 2003, Square-Enix brought out more FF sequels, covering everything from traditional consoles to Windows to mobile gaming.
While each entry in the Final Fantasy series is a standalone adventure, there are themes that return every game. Young heroes coming together despite tragedies, the difficulty of the heroes working together, an ancient evil returning, rebellion against a government. Magic is based on elements, both the traditional Japanese and Western, and must be balanced within itself and with nature. Technology isn’t necessarily evil, but neither is it necessarily good; it, too, must balance with nature. There are recurring characters, of a sort. Cid, who first appeared in FFII acts as a mentor to the main character and may or may not be part of the party depending on the entry. Biggs and Wedge, named after characters in Star Wars, have appeared in games starting with FFV and are typically used as comic relief.
As the company worked on getting FFVII, FFVIII, and FFIX published, Square set up a division, Square Pictures, to release films based on their games. The first and, ultimately, only movie created was Final Fantasy: The Spirits Within. Released in 2001 with Sakaguchi and Motonori Sakakibara directing, The Spirits Within was an ambitious project, with the film being completely computer animated. The ambition came with a high price tag; computers of the time, Penium IIIs running at 933MHz – were being pushed to their limits rendering the film’s frames.
In The Spirits Within, the Earth of 2065 has been overrun by alien creatures known as Phantoms that can pull a person’s soul out of their body, killing them. Even a touch leads to an infection that is fatal if not cured in time. Humanity is isolated into barrier cities protected by an energy field. People who leave the city must go through decontamination to ensure no Phantom infection has occurred.
All is not loss yet, though. Doctor Aki Ross, voiced by Ming-Na Wen, and Doctor Sid, voiced by Donald Sutherland, discover of a way to defeat the Phantoms. If the eight signature spirits can be found and combined, the Phantoms can be pushed off Earth. During a trip to the ruins of New York City to gather the sixth signature spirit, Aki is stalked by Phantoms, only to be rescued by her former boyfriend, Gray Edwards (Alec Baldwin) and his squad, the Deep Eyes – Ryan Whittaker (Ving Rhames), Neil Fleming (Steve Buscemi), and Jane Produfoot (Peri Gilpin).
On return to the barrier city, Aki finds out that General Hein (James Woods) has decided that the best way to destroy the Phantoms infecting the Earth is to turn the Zeus cannon, an orbital laser, on them. To protect the Earth and its Gaia spirit, Aki reveals that not only is she infected, the spirit signatures she’s collected are keeping the infection at bay.
The seventh signature is found, though Aki’s infection worsens. She falls into a coma and, while unconscious, dreams of how the Phantoms first arrived on Earth. Aki is brought out of her coma by Sid who uses the seventh signature to control the infection.
Hein, believing that Aki is under control of the Phantoms, decides that his plan is still the correct one. He lowers the energy field of the barrier city, intending to let a few Phantoms in. Legions swarm the city, causing havok. Hein escapes to the Zeus space station. Gray, the only member of Deep Eyes to escape alive, joins Aki and Sid on their space ship to find the eight signature.
It becomes a race against time. Hein opens fire with the Zeus cannon while Aki and Gray seek out the eighth signature spirit. One of Hein’s shots kills the spirit, but Aki has a vision of the Gaia of the Phantoms’ home world. The infection within her becomes the eight signature spirit and combines with the other seven. To transmit the completed spirit to the alien Gaia, Gray sacrifices himself. On the Zeus station, Hein orders the cannon into overload, ignoring warnings from techs and computers. The cannon overloads, destroying the station and killing all aboard. The alien Gaia and the Phantoms leave Earth, returning home.
Several of the recurring FF elements can be seen in the above. There’s the young heroes with some issues between each other. Despite the different spelling, Doctor Sid is still the wise mentor to the lead character, Aki. The nature of spirits returns, and how introducing an alien spirit can cause problems. The biggest change is that The Spirits Within is science fiction with some fantasy elements, a huge change from FFVII, FFVIII, and FFIX, the three most recent games prior to the movie’s release. Also unlike the games released, The Spirits Within was set on Earth.
The film was a commercial failure. Part of the problem was the sheer cost of production. The budget for the movie was US$137 million, higher than 1999’s Star Wars Episode 1: The Phantom Menace at $115 million. Most of the cost was in the animation, from the hardware to the sheer amount of time animators needed to put the film together. Other problems existed. As mentioned above, video game adaptations were known to be poor. The characters, while rendered to be as realistic as possible, fell into the uncanny valley. There was something just off enough to make the characters seem less than real. And, for a video game movie, there wasn’t much action. The Final Fantasy series of games did offer more than just pure action, adding characterization, investigation, and exploration, but the draw of video games is the action. Audiences found the story to be slower than expected. Because of the loss, Square Pictures closed shop and the merger between Square and Enix was delayed.
Artistically, the film was lush. Backgrounds were detailed. Characters had blemishes. The ruined Earth was heartbreaking to see. The Phantoms provided a harsh alien light to the world. Perhaps the movie could have been better off as another entry in the FF line of games, allowing players to immerse themselves into it as Aki, Gray, and the Deep Eyes.
Final Fantasy: The Spirits Within wasn’t quite what Final Fantasy fans were expecting, but it did touch upon similar themes as the games had. The failings of the movie are technical. As an adaptation, it is a worthy entry in the Final Fantasy line up and breaks the video game adaptation curse.
News has come out about a Tetris movie adaptation. A joint Sino-American production, the budget is reported as $80 million, far less than the typical blockbuster. Yet, the question remains.
For those unfamiliar with Tetris, the goal is to rotate falling blocks of varying shapes into position to clear lines, with the best scores coming from clearing four lines at once. The game combines hand-eye coordination with spatial recognition. There is no cast of characters, no plot, just falling blocks. Yet, according to the report, the Tetris movie will be an “epic sci-fi thriller”. Does this mean the characters in the movie have to discover the source of falling blocks that cause city blocks to completely disappear?
It has been said that video game movies suck. This sentiment can be traced to movies such as Super Mario Bros. and Street Fighter: The Movie. Both of those movies were based of games that had actual characters and, at the minimum, a background to explain the reason for the action. The video game Super Mario Bros. III has a plot, albeit the simple scour a world to rescue the princess. Tetris doesn’t have that, just falling tetrominos that need to be fit into empty spaces that won’t cause the wall of bricks to get too high.
What the proposed Tetris movie does have in its favour is Larry Kasanoff, the producer of the Mortal Kombat movie, a film that showed that it is possible to have a video game movie that was enjoyable. The Tetris movie will also have a cast mixing Western and Chinese actors. Right now, though, it looks like associating the movie with the video game is more to get people to notice the work instead of being a faithful adaptation.
In contrast, here is what Kevin Smith said about helming a Buckaroo Banzai TV series:
“I’ve been tapped to adapt BUCKAROO BANZAI into a series, which is something of a dream come true: I’ve loved the 1984 movie since I was a kid. My well-read copy of the film’s novelization by screenwriter Earl Mac Rauch is my Bible. But I’m not gonna be directing this alone: it is my intent to assemble a dream team of cult movie directors for the 10 episodes of this #BuckarooBanzai series – folks like #DonnieDarko director Richard Kelly, #ShaunOfTheDead director @edgar_wright and of course, the #Banzai director himself – WD Richter. Same with the writing: I want to bring in the creator Rauch himself to write the flashback episode detailing the night the red Lectroids came to Earth (with the help of #OrsonWelles and his War of the Worlds broadcast.) The other scripts will be penned by other #BlueBlazeIrregulars who worship this flick like I do. Cast-wise, I’m hoping to get the great Peter Weller to play Team Banzai’s greatest enemy, Hanoi Xan! And any cast member from the original who wants to play is gonna be welcomed like returning conquering heroes. Long story short? Don’t worry: I’m not gonna #KevinSmith this Banzai series at all. It’s gonna be 100% true Buckaroo. Which means the watermelon will NEVER be explained. #MGM #yoyodyne #buckaroobanzaiagainsttheworldcrimeleague”
Smith is making the effort to keep the elements he enjoyed about the original film. The Tetris movie, with the announcement, isn’t making that same effort. It feels much like Hasbro’s accouncements for movies based on their properties, Battleship, Candyland, and Monopoly. The movie is being made to cash in on the name, and Battleship showed why that’s not always a good idea.
However, it is still early, with just the announcement of a Tetris movie. Threshold Global Studios, the partnership behind the movie, wants to create films that bring the East and West together, which isn’t a bad idea. Here’s hoping that the Tetris movie does well enough to keep the partnership going.
(This column is posted at www.StevenSavage.com, www.SeventhSanctum.com, and Steve’s Tumblr)
I’m looking forward to No Man’s Sky – which is apparent if you see my Twitter, Facebook, blogs, or just talk to me. The procedural space adventure fascinates me as it pushes all my buttons – and of course I’m big on procedural generation, so of course I’m following it.
Acknowledging this, this is fair warning you’re gonna see some No Man’s Sky posts. It’s relevant to my interests, to what I do here, so I hope they’e informative and interesting.
As I’ve scanned internet posts and Steam communities, one useful insight I’ve seen is that the game may face an issue of being “a mile wide and an inch deep.” A game, in short, of great breadth but not a lot of depth. I think this concern is worth addressing, as it reveals some truths about games, procedural games, and their development.
The concern is one I feel is legitimate for some in the audience. NMS’ videos make it clear that the game presents an enormous Sandbox galaxy, with straightforward systems of crafting, exploring, fighting, trading, and reputation-building. This may be enough for many (such as myself), and certainly enough for a broad, wide adventure – but it may not be enough for everyone attracted to the premise.
The “mile wide” may stand for people, but for some people the game may not have the depth they want – or the kind of depth they want. You won’t be building structures, negotiating trade agreements, or going on elaborate story quests – hallmarks of other games and science fiction. For some NMS will have everything they want – for others it’ll be a beautiful galaxy that might not have what they want, or enough of it.
I analyze what I see from NMS’s designers and ads, because watching this dream game evolve has taught me a lot about games and procedural generation. The concern about NMS not having the depth some one made me ask, simply, what if the game tried to add more?
It’s not hard to imagine adding some more classic science fiction elements from the novels that inspired it. Take the simple alien language engine and add some negotiation and trade deals. Allow some encounters to spawn some quests – like smuggling something thorough a blockade. Maybe even a bit of building or improving buildings. Just a bit more maybe . . .
. . . and this is where it gets complicated.
First, even if there is a desire to add “more” we’re talking a game with a setting the size of a galaxy, filled with procedural content so large the devs had to make in-game probes to study the worlds. Any addition of new features could produce development nightmares, adding them onto an already careully developed and tweaked engine.
Second, the developers would have to choose what new features to add to their already polished set. What would sell? What do people want? S much work is procedural, so much unknown, can the devs predict what people will want? Will they be able to balance demands? They can’t be sure how people will react to the game – potential pirates may become explorers, traders decide to cut out the middlemen and become pirates, and explorers may drop their archiving duties to just swap rare minerals for cash. Throwing in more features requires careful consideration of how the audience will reacts.
Third, if the new items could be added, then comes the question of testing. Adding new features onto procedural content produce a new nightmare of testing it and making sure nothing else broke and all the pieces work together. That “mile wide” part means a lot more testing work when you try to make that “inch” a bit deeper.
Fourth and finally the extreme “width” of the game means that, with too much “depth” the game might become a muddle of choices and options. NMS may give you the stars, but its focus on being a kind of space exploration/survival game provides useful boundaries for play. Throw in a few more features and a game that already provides little direction could end up a muddle.
Those concerned about depth have a legitimate concern – for some of the audience (again, I think most people buying NMS who are informed will know what they’re getting). But I think the creators have a sweet spot of features for this grand enterprise, and changing beyond that is fraught with dangr.
Is it the right choice? Well, we find out in June 2016 . . .
Space opera has long been a staple in science fiction. Sprawling epics, from Edgar Rice Burroughs’ John Carter of Mars through Flash Gordon and Buck Rogers to Star Trek and Star Wars and the original Battlestar Galactica, where good and evil are easily determined and the stakes are high. Even if the heroes run into obstacles too much to overcome, they triumph in the end.
The past two decades have seen deconstruction of many forms of entertainment, taking the original works and applying a grim, gritty, realistic or semi-realistic filter and showing the results. The remade Battlestar Galactica is an excellent example of deconstruction. The original Galactica, despite the last survivors of the Colonies being on a ragtag fleet being hunted to extinction, left the viewer with optimism that humanity would survive. The remade Galactica, there was the question of who would finish off the fleet first, the Cylons or the humans.
With desconstruction comes reconstruction, the rebuilding of the tropes associated with the genre. In this case, Bioware’s Mass Effect series of video games. In 2007, Mass Effect introduced video gamers to a galaxy where humanity joins a large number of species already capable of faster than light travel. Planets and locations range from the high tech and political centre Citadel Station to frontier colonies like Eden Prime and hell holes like Omega. Into this, eldritch abominations return from beyond the galaxy, intent on destroying all life as part of a cycle of destruction.
Players took on the role of Commander Shepard, a special forces member of the human Systems Alliance Navy, as he or she* investigated an attack on the human colony of Eden Prime. As the investigation progressed, Shepard picks up an eclectic band of supporting characters, including a rogue Citadel Security officer, a homeless pilgrim, and a naive archaeologist, and learned about the threat to the galaxy being spearheaded by a rogue Citadel Council special operative.
The follow up games, Mass Effect 2 and Mass Effect 3 continue the investigation and fight against the abominations, even while Council doesn’t believe that there is a danger. Throughout the series, despite the threat, despite the inevitability of the abominations returning and succeeding, the hope exists that Shepard will prevail and unite the galaxy against the threat.
In 2012, Funimation**, in conjuction with T.O. Entertainment*** and Production I.G.**** released the animated feature Mass Effect: Paragon Lost. Part of the goal of the feature was to introduce a new playable character for Mass Effect 3 in case Shepard died during the gameplay of Mass Effect 2 while still succeeding with the mission. Another goal was to introduce the game to new players.
Paragon Lost follows Lieutenant James Vega, a marine in the Systems Alliance Navy, as he and his squad race in to protect Felh Prime from an attack by krogan mercenaries. Vega and his teammates show off the different classes available in the game without calling them out by name. Instead, the movie shows what each class does, and the abilities shown are possible in-game, even by Shepard with the right choice of class. The movie starts shortly after the beginning of Mass Effect 2 after the apparently loss of Commander Shepard, and takes place before the start of the real plot of the game. Through the course of the movie, Vega discovers the abominations and what the race known as the Collectors are doing and works to prevent a tragedy.
As an adaptation of a video game, Paragon Lost needs to be able to tell a good story within the framework of both the plot and the gameplay of the Mass Effect series. As seen with Battleship, getting how a game works into the visuals can be problematic. Working in the Paragon Lost‘s favour is having a common ground with the video game – both are visual. The special moves available to Shepard and his or her team are already shown on screen. Paragon Lost shows the viewer each class and what it can do easily enough, from the flashy to the subtle. The movie also shows the setting, giving a taste of the Mass Effect galaxy despite staying primarily on Fehl Prime.
The other major factor in the Mass Effect games is the effect of player choice. A decision made in the first game will return to haunt the player in the second and third. Movies, with the exception of Clue, tend to have just one ending. Interactive DVDs do exist, but are marketed more as games than movies. Paragon Lost, though, still manages to introduce the idea, giving Vega a critical decision and showing the viewer the ramifications of his choice, in a way that drives home the seriousness not only of the immediate results but the long term war to survive.
Next week, the legacy of early computer animation.