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Manual Generation Xbox: How Videogames Invaded Hollywood

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Generation Xbox: How Videogames Invaded Hollywood [Russell, Jamie] (Tapa Blanda)

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While the major motion picture studios have spent most of the last 30 years lazily trying to co-opt videogames, the videogame industry itself has been evolving into a real competitor in the entertainment business.

Generation Xbox: How Videogames Invaded Hollywood (Book Review) - BioGamer Girl

What I call Generation Xbox - the to year-olds who lived through the era of Sony PlayStations and Microsoft Xboxes - were born into a world where videogames were already a viable storytelling medium. Why would they want to watch a movie when they can play inside one?

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Generation Xbox knows that the once solid boundary between games and movies has become a permeable membrane. They use their Xbox s and PS3s to watch Netflix movies. They create their own machinima videos out of the latest first-person shooters.


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No niche market, Generation Xbox is now the predominant force in the entertainment industry and Hollywood is frightened by how its core audience is changing. As always, the numbers tell their own story. It made entertainment history, making more money in 24 hours than any movie, album or book In response, movies are starting to look more and more like games.

Generation Xbox - How Videogames Invaded Hollywood - WC Movie Reference

The visual lexicon of videogames has invaded pop culture. Digital cinema is blurring the line between videogames and filmmaking. High-end directors - like Steven Spielberg, Peter Jackson and Robert Zemeckis - now spend as much time crafting immersive but non-existent worlds as game designers. Generation Xbox tells the story of how we got to this point - and where we might go from here.

The novel has had several centuries to develop its strategies for storytelling. Cinema has had over a century to evolve and it standardised its format of choice 35mm film early on. Videogames, in contrast, are an art-form forever in flux, where each new technological leap makes the last benchmark redundant. Imagine if Henry Fielding, Leo Tolstoy or even Dan Brown had been forced to build a new language and a new printing method from scratch every time they wanted to publish a story.

Or if D. Griffiths, Orson Welles and Martin Scorsese had to upgrade the movie camera every time they planned a new film. The art of storytelling would inevitably be stunted by the focus on technology rather than art. Jordan Mechner, the game designer who created the Prince of Persia game franchise and wrote the screenplay for the Disney movie produced by Jerry Bruckheimer, believes videogames are an art form with a cultural inferiority complex.

It was looked at, at best, as a harmless amusement - which is how videogames were seen in the days of Space Invaders or Asteroids. You dropped a coin in the slot and were entertained for a few minutes. Almost two decades later, when Mechner and Jerry Bruckheimer shopped the Prince of Persia movie around the Hollywood studios, they took a demo reel of videogame footage from the Prince of Persia: The Sands of Time videogame with them to present to studio executives.


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Clearly much had changed in the intervening period - both in terms of videogames themselves, and the perception of them. Others, like Steven Spielberg and George Lucas, saw its potential early on and have had played an often unacknowledged role in guiding games towards their present form. This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Full description "synopsis" may belong to another edition of this title. About the Author : Jamie Russell is a lecturer in English and a freelance journalist. Buy New View Book. About AbeBooks.

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