New Line Cinemas announced this week that they have acquired the rights to produce a movie based on the hit Xbox 360 game, Gears of War. When I first read this, I was intrigued. I’m currently playing through the co-op campaign of GoW and I have found that this game lives up to its pre-release hype. This is some wonderfully epic stuff set in a shattered world of ‘destroyed beauty’ and I am in awe of the gameplay and art design that went into crafting this top-tier title.
In fact, the one knock against the game has been its inability to flesh out a potent back story. As I’m playing the game, I can see some of that (it would be nice to learn a little something about this world outside of picking up the manual) however I also see what lead designer CliffyB was going for. He wants to pop you in the middle of the story so that you and your onscreen avatar Marcus Fenix have to work to get your bearings straight while battling the hell unleashed all around you.
CliffyB has bemoaned the use of cut scenes as a narrative choice but there are ways to impart a tale without using these pre-rendered sequences. I played through Metroid Prime which dropped its storyline through scattered artifacts, downloaded files and cryptic alien hieroglyphics that are decoded throughout the game. That game allowed the player to either ignore these elements or use their Scan Visor to read up on them, making the story an interactive part of the experience. In Gears, CliffyB does something similar (press ‘Y’ to focus on key events) but there certainly seems to be an opportunity for more.
That’s something the movie could – scratch that – NEEDS to remedy. If the movie plays exactly like the game, then we have another DOOM on our hands with uber-linebackers marching through desolate hellscapes spraying lead at every bug that moves. Yeah, I know, former wrestlers gotta’ eat, but I don’t have to watch.
I think the toughest component to bringing GoW to the screen is tied directly to the game’s ample cinematic design. Gears already plays like a movie with massive set-pieces scored to a bombastic action flick score. A lot of this stuff is derivative of popular sci-fi flicks with Marcus and his brood an evolutionary step ahead of Aliens’ Colonial Marines or Arnie’s commando squad in Predator – of which this group shares a common language. There are shades of The Matrix with alien devices that appear similar in design to the ‘Squiddies’ not to mention the general look of Sera matching the scorched Earth aesthetic in that flick’s ‘real world.’ And then there’s the Kryl, sort of avian piranha, who only come out at night and swarm their victims in the dark. One set-piece, where you make your way through the darkened city (cautious to stay in the light provided by burst propane tanks) is derivative of the underrated Vin Diesel flick, Pitch Black.
I don’t bemoan any of these influences – in fact, the great melting pot of cinematic references is what makes Gears of War so fun. The problem is, by retelling these elements on the big screen, suddenly the cinematic forbearers look less like inspirations and more like the victims of highway robbery.
Which is why I continue to scratch my head over Hollywood’s hot potato treatment of Halo. Halo brings with it a more fully-formed original mythology. Yes, the Colonial Marines and their drop ships are represented here too (King of the World James Cameron’s reach is long) but the religious and political shadings to the Covenant back story is intricate and great fodder for an original film experience. I truly believe that whatever studio ponies up the cash for Halo will have just nabbed the next Star Wars franchise – as its universe is as infinite with storytelling (and merchandising) possibilities. Merchandising? Maybe that’s the linchpin.
Anyway, I’m not sure if Gears of War offers the same longevity.