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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

Understanding the Convergence of Video Game and

Film Styles

Alexander Chernyakhovsky

The digital revolution of humanity is well known for having greatly impacted the forms of

media: the digital arts have effectively supplanted the traditional arts: painting pales to the digital

masterpiece of Photoshop reality; digital photography frees the photographer from the limitations

of the film cartridge; computer-generated imagery (CGI) makes film truly extraordinary; video

games put the player into situations that were previously unimaginable. However, video games are

mostly considered to be craft and not art, similar to how many modern arts were once considered

craft. At the same time, film is considered to be significantly more art-like than video games. Of

course, the status of film is disputable, with the television formats varying wildly.

This is especially interesting, as close observation of the interactions of film and video games

reveals that there is an intimate relationship. The modern media ecosystem is extremely focused

on transmedia movements; the video game adaptation of a movie is extremely common, and the

movie adaptation of a video game is gaining momentum. In fact, some of these adaptations have

been quite successful, such as the Tomb Raider1 video game that was turned into the Lara Croft:

Tomb Raider2 movie just five years later. The very existence of this and other films is evidence that

film is becoming more video game-like. What makes this possible? Is there an inherent connection

between the story-telling modes of the film and the video game that make them similar, and this

convergent evolution is just a natural side-effect? Or perhaps it’s a cry for recognition by video

games, to finally take on a perception as art, while their film ancestor looks on with jealousy, and

1Eidos Interactive. Tomb Raider. Video game. 1996.

2Simon West. Lara Croft: Tomb Raider. Film. 2001.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

takes on the elements that made video games successful to regain the fan’s levels of attention.

The interactivity of games, especially video games, is indisputable; other media are meant for

observation. We can consider this to be an affordance of video games—but how have video games

changed since they became viable? One of the first video games, Pong, is iconic enough that it

is constantly reimplemented by developers, myself included. Pong has few features: the ball and

the two moving paddles, one of which may be controlled by a computer player with a simplistic

Artificial Intelligence (AI). Analysis of this game shows that it has extremely blocky artwork,

and no real story. It seems to be a digital recreation of a similar game that can be played in the

analog world: Ping Pong, also called Table Tennis. However, this simplistic beginning does not

permanently shadow video games, as many of these decisions were limitations of the computer

engines that powered the game, and not the imaginations of those that created it. That is not to say

that Pong has some deeper meaning than is visible to the gaming audience, nor that we should go

looking for one, but only that the medium did not yet allow the deeper exploration that we expect

from our arts.

As the underlying technology evolved, the features of the video game also evolved. This pro-

gression can be most easily noticed by following a long-lived game series through the various

technological incarnations. An example of this process is the Mario series of games by Nin-

tendo. As the computing power of the video game consoles increased, the length of a Mario video

game increased; as did the complexity of the artwork and music. Eventually, Mario entered the

three-dimensional universe3, as significant changeover from the two-dimensional platformer ear-

lier games4. Although the levels become more intricate, the basic story-line stays the same: Mario

must save Princess Peach, who is almost always in another castle. Intricacies do sometimes find

themselves getting included in the story-line to differentiate the new game from the previous ones,

but the basic principle remains. However, this is not a counterexample to the idea that video games

3Nintendo. Super Mario 64. 1996.

4Nintendo. Super Mario Bros. 1985.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

are growing to have deeper meaning and therefore worthy of the classification of art, but rather

proof that there is a specific video game formula that is in the process of being perfected.

In fact, the formula in which Mario must always save Princess Peach is a trope that can be found

in Hollywood films as well, recognizable as “hero saves damsel in distress”. This common motif is

present even in children’s films, such as the Disney’s version of Tarzan. Given the human tendency

to tell stories of heroism which follow this motif even outside of film and video games, it is safe to

say that it affects both low and high art. With this in mind, we find that the further analysis of the

development of video games and their relation to film is actually complicated: because of the deep

interconnection between the modes expressed in all media, it will be difficult to identify specific

elements that are not also shared with at least one other medium. However, we endevour not to

show that the connection between film and video games is unique, but rather being strengthened.

Before we can proceed with a case study video game, we must first establish the criteria that

we will judge the evolution of the video game towards the film. If this progression actually exists,

we expect to find a modern video game with elements of deep and involved story-line, immersive

alternative reality that is self-consistent but not necessarily believable within our own universe,

there should be a mostly linear structure that can take the form of a narrative, and the game should

have a plot structure that is “sufficiently nuanced” that it is not contrived. We instantly recognize

that there are games created all of the time that fail this litmus test. This is expected, just as there

is film and physical art that is kitsch and of low value.

For this test case, we will evaluate a modern installment of a long-lived game series: Metal

Gear Solid 4: Guns of the Patriots5, directed by Hideo Kojima. Metal Gear Solid 4 follows in the

long line of Metal Gear Solid games, which follow the Metal Gear story-lines. We will analyze

the depth of Metal Gear Solid 4, determine how similar it is to modern film, and show that it is a

accurate example of the state of modern video game development. While we will focus on Metal

5Konami. Metal Gear Solid 4: Guns of the Patriots. June 2008.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

Gear Solid 46, it is necessary to mention some of the predecessor games, both to understand the

relevance in the change of the story-line as well changes in mechanics.

Professional opinion of a video game is a great first source of analysis. Experts within the field

will offer an opinion, and do a significant portion of the hard work in assessing the value of the

entire piece. Since these domain experts are, by definition, domain experts, we must consider their

inherent biases. We assume that these domain experts will assert value in some scenarios where

the value is limited, so we must distrust their judgment in the absolute scale. That said, the value

judgment within the relative scale is likely valid. Therefore, we must also show that the absolute

value is accurate, which we can do by considering the biases of the reviewer and coerce them into

the media studies framework.

The review of Metal Gear Solid 4 by Jeff Haynes of IGN7 starts in a fairly typical style, de-

scribing the setting of the game-world.

The world of Metal Gear Solid 4 is quite a bleak one. In fact, in many ways, it’s

precisely the one that Solid Snake and Otacon have been hoping to avoid. Set six

years in the future, war and conflict are no longer a sporadic occurrence with hot spots

around the globe; instead, the entire planet is engulfed in constant battle.8

At the very opening, we see that the domain expert Jeff Haynes has instantly identified the unique

story-line aspect of the game, which reads as the paratext of a recent film. Without significant

effort, one could imagine a movie in which the main characters Snake and Otacon have to battle

against the dystopian universe they attempted to prevent. We could perform an experiment with a

sufficiently large group to see how much of the audience mistakes this game description for a film;

unfortunately we do not have the resources to do so at this time. We assert that such an experiment

would yield a statistically significant result.

6Konami, Metal Gear Solid 4: Guns of the Patriots.

7Jeff Haynes. Metal Gear Solid 4: Guns of the Patriots Review. IGN. June 2008. URL: http://www.ign.com/

articles/2008/06/12/metal-gear-solid-4-guns-of-the-patriots-review.

8Haynes, Metal Gear Solid 4: Guns of the Patriots Review.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

Next, Haynes identifies that Solid Snake’s arsenal and methods has been massively expanded,

allowing the player to perform many more tactics than previously allowed9. This mostly focuses on

the addition of “CQC”, or “close-quarters-combat”, a massive extension of the previous hand-to-

hand combat system of the earlier Metal Gear Solid games. This allows the player to choose how

they approach a problem, giving them the option to be nearly silent through CQC combat moves,

or the tranquilizer gun, or even the more traditional run-and-gun. Although the Metal Gear Solid

series has always relied on stealth, the run-and-gun approach has always been an option, but with

varying levels of consequence. However, these choices do not affect the overarching story-line that

the player follows. Individual actions may result in certain bonuses, and make the game easier or

harder, changing the player’s experience; but the story progression is quite linear. The player must

guide Snake through the “levels” and complete the mission objective—which of course is natural

to Snake, as he is a soldier, everything is just a mission.

Some decisions are relatively major, affecting the difficulty of the campaign, but not the goals.

Hynes points out that

As you move throughout the various environments in the game, you’ll come across

different militia troops that are fighting the PMCs for control of their locations. Players

essentially are presented with two options in this situation: on one hand, players can

retain a lone wolf focus, proceeding on their own, fighting PMC and militia alike.

[...] On the other hand, they can attempt to gain the trust of these local troops by

fighting alongside them, attempting to gain their trust by attacking the PMCs. By

building a reputation as a freedom fighter that believes in their cause, the militiamen

will aid you in your mission, providing additional fire support during skirmishes and

even eliminating PMC soldiers for you.10

In allowing some sandbox aspects within the game, Metal Gear Solid 4 allows—no, encourages—

9Haynes, Metal Gear Solid 4: Guns of the Patriots Review.

10Haynes, Metal Gear Solid 4: Guns of the Patriots Review.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

players to take a unique approach to solving the puzzles and fights. The multidimensional aspect

of the linear narrative creates a connection between the player and the medium that cannot be

replicated with film, which provides the viewing audience with no choice. However, if the film

were to be extensible across media formats, this level of interaction would be achievable. However,

this requires that the film medium take on some aspects of video gaming, creating a universe

in which the audience has some choice. The integration of the game and the audience requires

significant nuance: if done poorly, the illusion is lost; but if done well, the audience is brought

even deeper into the fictional universe.

The level of integration between the player and Snake is actually a unique topic, as the Metal

Gear Solid series is famous for breaking the fourth wall. Most of the time, the player is addressed

as Snake, but certain interactions refer to the player as someone holding the controller. In Metal

Gear Solid, a certain boss battle could only be won by switching the controller from the first

port to the second. The level of interactivity and story-telling that is achieved by these actions is

unmatched by film. It is not possible for the fourth wall to be broken in a manner that is relevant

to all audiences, at least without resorting to gags.

Why are all of these techniques effective? How is it that Metal Gear Solid employs them in

novel ways? The only way to find out is to ask the creator, Hideo Kojima. In an interview with

The Guardian11, Kojima recollects that working in video games used to be seen as a low-class

position. It was such a low position that Kojima says “there wasn’t even a word in Japanese for

the job of game designer back then. I would lie at parties. I told people I worked for a financial

firm”12, just to maintain respect from others in society. From this we see that not only are the

video games considered craft or perhaps low art, but so are their creators. Kojima, however, was a

born story-teller13, and encouraged by his family to study film and be able to retell the story—he

11Simon Parkin. Hideo Kojima: video game drop-out. The Guardian. May 2012. URL: http://www.guardian.

co.uk/technology/gamesblog/2012/may/23/hideo-kojima-interview-part-1.

12Parkin, Hideo Kojima: video game drop-out.

13Parkin, Hideo Kojima: video game drop-out.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

was originally intending to become a film maker14. It is then absolutely no surprise that Kojima’s

immense story-telling ability is clearly visible through Metal Gear Solid.

In applying the litmus test, we have found that Metal Gear Solid 4 has an involved story-line,

developed by a film maker-turned-video game developer; an immersive universe within which the

player has an effect, although the universe sometimes spills over into our own; and a plot structure

in which the fate of the world is affected by the player–sufficiently nuanced. As for the issue of the

reviewer’s biases, we find that the evaluation is within the context of the space, but not obviously

so. Using the background knowledge that Kojima was originally intending to direct film, we find

that the review is comparable to film critics, and we resolve to accept the statements with less

skepticism. In essence, we find that the video game genres are expanding to be considered more

art-like and to receive the level of appreciation that film does, mostly outside of the devoted fan-

base.

Now that the tendancy of video games to become film-like has been established, through the

example of Metal Gear Solid 4, we must now evaluate how films are becoming more game-like.

For this analysis, we will attempt to find game-like elements within film, by examining film that

blatantly copies from video games (adaptations), as well identifying elements of film that were

transplanted from video games. Such elements would include viewer-influenced choice, which

would mostly be present in episodic films, such as TV shows, video game-like illusions of intera-

tivity, i.e., first-person scenes, and also storylines that involve video games at their core.

First, we will consider The Matrix15, in which there are multiple layers of universe and reality.

There is the reality of The Matrix, a computer-generated simulation of the world, and the Real

World. In essence, The Matrix is a video game in which the stakes are real: your life. Some of

the details that The Matrix presents can also be considered a social commentary on gamers: the

muscles that Neo must build up as he has never used them before are analogous to, but in reverse

14Parkin, Hideo Kojima: video game drop-out.

15Andy Wachowski and Lana Wachowski. The Matrix. Film. Mar. 1999.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

processes, the atrophy of a video game addict’s body. Furthermore, the process of “jacking in”

to the Matrix is a very direct representation of the colloquial term for connecting to the internet

in that era. This is especially visible when considering the mechanism for leaving the Matrix, a

telephone. This directly makes sense, as online video games at the time would require a modem

link.

The Matrix is further interesting because it creates a world in which gamers can live, but sadly

has not produced a successful video game. It is unclear why this has occured, but speculation

points to the change in the original plot of the film, in which the justification for the existence

of the Matrix was to enslave humanity for the computational capacity ofthe brain, rather than the

electrical energy generation. This difference in intended plot and produced plot points to a level of

sophistication that changes the acceptance rates due to differing levels of suspension of disbelief.

It appears that the video game world was too connected to our own reality, while itself breaking

a rule of physics in the viewer’s reality, preventing a full immersion into the world outside of the

time period of a film.

While The Matrix is an allegorical video game, Star Wars: Episode I - The Phantom Menace16

contains a rather famous “pod racer” scene, which is also the subject of the video game Star Wars

Episode I: Racer17. This intense race scene is interesting positioned within the film, as it does

not have a significant plot purpose. It is, however, visually stunning, showing off the quality of the

computer-generated images and special effects. Many of the visuals focus on showing the intensity

of the race, and in some ways, portray the audience as having a connection, if not influence, on the

main character controlling the pod. It is entirely of no surprise that a video game which lets the

audience do exactly this exists! Here, we observe the synergistic effect between a compelling idea

well-presented in film and its actual implementation in a video game. In order to create interactivity

for the fan experience, the film incorporates elements that would make a good video game, and

16George Lucas. Star Wars: Episode I - The Phantom Menace. Film. May 1999.

17LucasArts. Star Wars Episode I: Racer. Video Game. May 1999.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

also produces this video game. The resulting hybrid medium stands much more prominently than

the two components.

Another film-video game hybrid is the TRON18 series. An interesting aspect of the film is that

the main character is literally sucked into a computer, effectively becoming a participant in the

video game. Although not all aspects of the video game are included in the film, the most famous

of which is: the Light Cycles. Light Cycles are a futuristic/digital motorcycles, which leave a trail

of light; hitting this trail of light will will result in a crash. This game, and related moment in the

film, are iconic. Given the age difference between TRON and Star Wars Episode 1, we find that

the technique of synergy between video game and film is quite old, but still being perfected.

This synergy between these games and the films is not just coincidence. It’s as if the film

was designed to be played. In “The Meaning of Video Games”, Steven Jones19 describes how the

popular TV show LOST was influenced by video games to meet this exact design goal. Features

of LOST that a resemble a video game include

Along the way you encounter a series of unexplained phenomena: vices in the trees,

cryptic documents, films and videos left behind by previous inhabitants what seems to

be invisible monsters in the jungle and powerful anomalies of nature everywhere.20

Through these mazes and confusing puzzles, the audience can make theories and try to solve them

as they watch the characters do so on screen. Part of the experience of the film is the interaction

with other viewers, trying to guess the next move.

The notion of the interactive film is very different from the video game. An audience member

cannot directly manipulate the course of events in film like they can in a video game, but they can

interact with the universe that it creates through associated media and through the imaginations

of collective organization. What does this increased interactivity produce? It produces further

18Disney. TRON. Film. July 1982; Bally Midway. TRON. Video Game. 1982.

19Steven E. Jones. The Meaning of Video Games: Gaming and Textual Strategies. Routledge, Feb. 2009.

20Jones, The Meaning of Video Games: Gaming and Textual Strategies.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

immersion, which contributed to the success of LOST, TRON, Star Wars Episode 1, and The

Matrix.

We hypothesized that there was a mututal attraction between film and video games, and have

shown that video games are becoming more high art through their increasing visual and narrative

intricacy. Additionally, we have found that the increased video-gamification of film, through the

creation of elements that deserve to be manipulated increases audience interaction. Specifically,

we find that this convergence is neither a coincidence, nor driven by the same reasons. As video

games work to be recognized as art, the creative directors such as Hideo Kojima will no longer be

forced to lie about their occupation to get respect. Nor is there jealousy involved on the part of

the film creator: the relationship is synergetic, attempting to actuate the audience, although for the

selfish reasons of profit. Of course, the audience benefits by getting the ability to experience their

content through transmedia transformations and connections.

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Understanding the Convergence of Video Game and Film Styles

Alexander Chernyakhovsky

achernya@mit.edu

Works Cited

Disney. TRON. Film. July 1982.

Haynes, Jeff. Metal Gear Solid 4: Guns of the Patriots Review. IGN. June 2008. URL: http:

//www.ign.com/articles/2008/06/12/metal-gear-solid-4-guns-of-

the-patriots-review.

Interactive, Eidos. Tomb Raider. Video game. 1996.

Jones, Steven E. The Meaning of Video Games: Gaming and Textual Strategies. Routledge, Feb.

2009.

Konami. Metal Gear Solid 4: Guns of the Patriots. June 2008.

Lucas, George. Star Wars: Episode I - The Phantom Menace. Film. May 1999.

LucasArts. Star Wars Episode I: Racer. Video Game. May 1999.

Midway, Bally. TRON. Video Game. 1982.

Nintendo. Super Mario 64. 1996.

— Super Mario Bros. 1985.

Parkin, Simon. Hideo Kojima: video game drop-out. The Guardian. May 2012. URL: http:

//www.guardian.co.uk/technology/gamesblog/2012/may/23/hideo-

kojima-interview-part-1.

Wachowski, Andy and Lana Wachowski. The Matrix. Film. Mar. 1999.

West, Simon. Lara Croft: Tomb Raider. Film. 2001.

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