1UP COVER STORY | WEEK OF FEBRUARY 18 | GAMES GO TO HOLLYWOOD
Five Movie-Based Games that Never Saw the Light of Day
Cover Story: We explore some notable adaptations that were sentenced to an early death.
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video game can be a measure of a film's success, a testament to its legacy years down the road. Or perhaps that game is merely a promotion, as much a part of the movie marketing as the action figures and collectible Taco Bell drinking cups. In some cases, a movie-based game isn't even released. Big-budget films might flop, companies might go under, and what was once a sure cash-in might become an abandoned project.
After an unusually long console cycle, we're now just a day away from the reveal of the PlayStation 4. Sony hasn't been especially coy about what the purpose of tomorrow's event is, though it has been reluctant to provide any information that could clue us in on its plans for its next home console. Besides the sorts of things Sony can't hide, like domain registrations and its acquisition of Gaikai, there has been no shortage of leaks and reports to give us some sense of what to expect tomorrow, as well as some ideas for what Sony needs to accomplish. Put simply, there needs to be a recurring theme throughout tomorrow's event as it makes its various announcements, and it involves answering one simple question: "Why?"
The controller is one aspect of the PS4 that has been making headlines recently after a photo showing an early prototype began making its way around the web. An internal speaker, a newly designed d-pad, and concave analog sticks are among the differences it features, but two other additions are the potential difference-makers: a touchpad and built-in PlayStation Move support. As you'd expect, some have written these off as mere gimmicks, and while they might end up being correct in that assessment, I'm interested in seeing what developers can do with them. Nobody wants either Move or the touchpad used in games just for the sake of doing so. Yet subtle implementations that accent traditional controls, or games built around these features (think Flower with Sixaxis), can be worthwhile and justify the existence of these so-called gimmicks.
You wake up at sea. The quiet water around you melds into the peaceful tones of a horn-based melody. You spot an island in the distance, and decide to swim towards it. Once you step foot on the warm sands of the beach, the music changes into something less ephemeral and more tangible. You spot a group of crabs just down the way, and when you approach them, the sound of bongo drums enters your ears. As they scurry away, so does the percussion. You distance yourself from the water and head towards a grove of cherry blossoms in the midst of a snowfall of petals. Immersing yourself in the floating colors brings entirely new instruments into the mix of sounds. This is Proteus.
Over the past few weeks, there have been many debates over whether Proteus is a game or not. Our buddy Dan Stapleton over at GameSpy argues that the PC title's inherent lack of any a defined objective stops it from being a game. Others have stated that the lack of interaction that the player has with the world is what causes Proteus to lose its moniker.
Throughout my time with Crisis 3, I couldn't shake the feeling that I was trapped inside of a Hollywood film. This became especially true during the more predictable moments of the script. At one point in the campaign, my partner and I, a man called Psycho, quietly snuck through the sewers as we attempted to evade C.E.L.L. -- a private military outfit ordered to find and capture us. Pyscho was formerly a Nanosuited military bad boy like me, but he had his outfit surgically removed by force somewhere between the last Crysis game and this one. Relegated to a life as a regular soldier, Psycho tugged at a rusty crank to open a set of sealed double doors until he felt fatigued; a loud creak reverberated through the environment -- a sure sign to anyone in earshot that they weren't alone.
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