Lovecraft’s World Adaptation to Video Game: The Sinking City

 

I always keep a keen interest for adaptations and it seems that Frogwares  intrigued my interest once again. In addition to transferring literature universes to video games, which is far more demanding than adaptations from other media, like for example from film or comics, this time they are transferring Lovecraft’s world!
More specifically, after their Sherlock Holmes’ series, now they are working on The Sinking City: A Lovecraft-inspired Open Investigation Thriller .

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Adaptations from Video Games to Films

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Today I read some articles about Warcraft (Jones, 2016) film adaptation. Unfortunately, I haven’t seen it yet, so I am not able to contribute with a review. Among others, I read a very interesting article from Erik Kain with the title: Five Reasons The ‘Warcraft’ Movie Is Way Better Than Critics Claim (you can find the article here ) that reminded me some issues on adaptation that I was exploring recently in various academic articles.

To make the long story short, my claim is that when adapting a story from one medium to another, a part of the audience will follow along with the story as it migrates to different media. While this is considered an added value for adapting popular texts, as it secures a devoted consumers’ base that results to more profits, it is also a burden in the adaptation process, since all the readers/viewers/players have already created in their minds their own adaptations. These adaptations don’t coincide with each other because they are based on the various social, psychological, cultural and personal conditions of the consumers. As a consequence, what some might consider as a “good” adaptation, others might perceive it as a total failure.
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The Incredible Flowability of Audiences: Video games are not just for those who play games

Yesterday, I read an article about the partnership between Facebook and Blizzard games, in order to stream video games on Facebook. While video game streaming is not today’s news and there are many groups of people that are engaged with video games not only by direct interaction, but also through viewing, until now the viewers were deriving mostly from strong gaming communities, like the one existing in Twitch. Also, Facebook has already hosted several Blizzard live streams. But this partnership signifies something different and it is very likely to change not only the market landscape for video game streaming providers, but most importantly, to reshape the base of video game consumers.

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The convenience that this partnership is providing to Facebook users, that is watching games through their own timeline, transforms video game streaming to a social tool. The simplicity and easiness of access, it is very likely to attract even those who are not related with gaming, but they want to watch someone they know playing, to become members of a community, to socialize. Watching is attractive and enjoyable per se, as video game streaming is in essence a blend between attending a live event/performance and film viewing. It is easy to spot similarities between this experience and other social practices, for example the way fans are participating in a football game, by watching their favorite team playing. Of course, watching video game streaming is not the same with watching a football game, but it still holds strong analogies, since both football fans and video game viewers feel that they are actively involved through watching their team, or their chosen streamer accordingly. Continue reading “The Incredible Flowability of Audiences: Video games are not just for those who play games”