When the new teaser trailer for Avatar: The Way of Water — the next entry of James Cameron’s CGI-heavy film franchise — came out, many viewers decided that the games were like a video game. As a praise or pejorative, the analogy is a hyperbolic effect. However, it also shows that there is a connection between video games and film industries, which continue to share technological know-how, story and vision.
Multiplex scenes these days are full of action-like visuals, but the concept of green-backed fiction is widespread, whether you are watching an explosive film or a drama. which goes well. Other ideas are also flowing freely throughout the mediums: Games and movies alike have set their clocks on the “bullet time” effects of the Matrix style; both models shook their cameras in Bourne; and a talented filmmaker such as Brian De Palma is amazed at how well the other actors have used the characters of the first movie characters.
And with the latest developments, high-tech games now feature the same images as movie and television stars. The latter is not surprising, since it was long ago prophesied — of any kind. In the October 1982 issue of Videogaming Illustrated, one finds the obscure title “THE ROBERT REDFORD VIDEOGAME,” and the exhortation: “Don’t laugh, we may still see one of the studios a growing number of movie stars are joining the video game ring. ”
Smash cut to The Quarry, the newest and most terrifying game from the British development of Supermassive Games, or the latest feature film included across the ropes. Granted, Supermassive is not a movie studio – nor is it affiliated with any other – but it excels in horror movies with clear cinematic interests. Thus, Quarry is a genre film, and its actor is made up of new and screen-based actors. Skyler Gisondo – who recently appeared in a film nominated by Oscar Licorice Pizza – plays a key role in the game, such as Jurassic World Dominion costar Justice Smith, among many others. Play participation technology has recorded the language, face, and body of each member, translated into computer-generated facsimiles that players control and / or interact with in the game itself. Supermassive was at this point with the help of Digital Domain, a Los Angeles-based art gallery founded by James Cameron, which has been active in a series of movies, games and radio programs.
Will Byles, who edited and co-wrote The Quarry, found solace in the 1980 summer-summer film Friday 13th, and in the baroque death scenes of the Final Destination franchise. But the show owes the 1981 drama An American Werewolf London, which Byles remembers as “the first horror movie I ever saw where I thought, ‘Oh, my God, this is funny. ‘”As he puts it. For me at Zoom, Byles is fascinated by the way the film combines its humor with honest relationships and “true horror.” In The Quarry, too, there are sweet sounds: It cares from maudlin needle drops to low humor to its terrifying waswolves.
The game is set in Hackett’s Quarry Summer Camp, which boasts of common traps: cabins, boats, corpses floating in the lakes. At the beginning of the story, people entering the camp are repatriated, but new counselors are still there for reasons. When their return trip is delayed, they choose to light a fire and hold overnight. As they will discover in the hours to come, the bustling forests are full of mysteries, though Robert Redford is sadly absent from them.
