The Escapist Magazine
Issue 195
Hideo Bruckheimer
Games vs. movies, games and movies, games in movies, games about movies, and vice versa.
Editor's Note Letters to the Editor

Most moviegoers know instinctively that movies are formulaic. But it might surprise you to learn just how rigid the formula can be. Jeff Tidball examines the movie's three-act structure and how it could help game designers make their creations more emotionally involving.

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There's a debate raging in the game development community over the role of storytelling in game design. But two recent games have managed to make a compromise between narrative and interactivity. Anthony Burch analyzes how key scenes in Half-Life 2: Episode Two and Metal Gear Solid 4 trick players into believing they have more control over the game than they actually do.

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Paul W.S. Anderson has directed nearly as many videogame-based movies as his notorious German colleague, yet his reputation remains relatively intact. How did he manage this feat? Graeme Virtue puts himself through a survival-horror gauntlet of Anderson's films to find out.

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"Interactive movie" isn't a phrase most of us remember fondly, but for a brief period in the '90s, this forgotten genre of games captured the imagination of the gaming public. Rob Zacny looks at a couple of the genre's best examples and what contemporary developers can learn from them.

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The Wizard was a movie that defined a generation of gamers. It was also 100 minutes of pure corporate propaganda. Mike Schiller takes a closer look at how The Wizard was made, and what it might look like if it came out 20 years later.

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