One of the laziest and most ubiquitous criticisms leveled at movies these days is to say they’ve been somehow corrupted by video games. It’s a dismissal based primarily on ignorance—the assumption that video games are nothing more than flashy computer graphics and frenetic action. And while it’s true that more and more movies rely on such crutches (I’m looking at you, Michael Bay), I would argue that video games aren’t to blame. Movies like Transformers are simply a result of cheaper digital-rendering effects and lazy writing.
If anything, the influence of gaming on movies has been a net positive, but not in the ways you might expect. The biggest change Hollywood has made in response to the overwhelming dominance of the video-game industry—it is, after all, bigger than the music and movie industries combined—is in the way movies tell stories. Specifically, the way they draw you into the narrative experience.
Video games have long had an immersive edge over movies. With games, you’re an active participant, not merely a distant spectator. Can there be any denying, for example, that the aesthetic of Ridley Scott’s Black Hawk Down was, consciously or not, influenced by video games? And I don’t merely mean its action sequences—I mean even the film’s most pedestrian dialogue exchanges, which are often framed in such a way that the character being spoken to is so close to the camera as to spill out of the screen. The film’s over-the-shoulder cinematography sometimes so closely mimics the camera angles of third-person action games that you almost feel your hands reaching for a phantom controller.
It’s not just aesthetics, either. The very narrative structure of games is starting to sneak into movies in inventive ways. Contrast, for example, two very popular “time loop” films—1993’s Groundhog Day and 2014’s Edge of Tomorrow. Mind you, I realize they’re different genres altogether, but that alone isn’t enough to account for the radical differences in the way these films deal with the concept of being forced to repeat the same events over and over again. In Edge of Tomorrow—which, by the way, director Doug Liman has admitted was largely influenced by the storytelling experience of games—the protagonist isn’t merely there to learn one overarching lesson from his repeated days. He literally learns from every death, much as is the case with video games.
I would also argue that the upward trend in the length of films has at least a little to do with games. Before you scoff, hear me out. Video games, by and large, spread their narrative over eight, ten, thirty, sometimes even hundreds of hours of gameplay. They’ve trained us to sit for longer stretches of time to absorb a story—and in a way that’s not quite like reading or like binge-watching a TV series.
You could argue whether or not that’s a good thing, of course. But what it boils down to is that the influence of games on the current state of cinema doesn’t simply boil down to pretty lights that hypnotize.
Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.