The adaptation business reveals a degree of regularity in duration and a definite profusion in the quantity of items involved: from 1975 to 2010, 547 films shown in movie theaters gave rise to around 2,000 games.
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We shall define "adaptation" as follows: the adaptation of films into video games is an editorial and commercial process organized on a coordinated basis between the rights-holder of a film or series of films shown in movie theaters and a video games publisher. The adaptations display the film source the varying degrees, which is used as a significant commercial argument.To categorize a video game as a film adaptation means seeking out the clues that suggest that a game is directly connected to a film source. We thus sought to examine the eponymous features when a film passes on its title to its adaptation, the copyright and legal details shown on the packaging, notices and title screens which confirm obvious and/or claimed derivations (e.g. characters, settings, images, original soundtracks) from a film for use in a game.
Developing and publishing a video game adaptation of a film is part of the operating approach for derivative products established by Hollywood since 1970. This practice means cashing in on the heavy promotional budgets allocated to promoting entertainment films and exploiting the popularity of a saga like James Bond or Star Wars; this editorial choice strongly dictated by commercial pressures ensures a degree of visibility for the games displayed at sales outlets.This strategy applies particularly to what is known in Hollywood as the movie tie-in game, that is, the game adapted from a film of the same name and marketed simultaneously with the release of the film in movie theaters. This simultaneous timing is a direct outcome of Hollywood's merchandising policies and multimedia development, which turns films into a loss leader for profits to be made on the production of other items. As a result, more than 90 percent of films adapted, the vast majority from Hollywood, give rise to adaptations simultaneously.
The first arcade video game inspired by a film dates to 1975: at the end of the summer of that year, surfing on the phenomenal success of Jaws in the movie theaters since the month of June, Atari put out the arcade machine Shark Jaws. Nolan Bushnell, the founder of Atari, is said to have tried to legally acquire the operating rights of the film from Universal but was refused. Starting in 1979 with the adaptation of the Star Trek movie by Robert Wise, every year, there was at least one film adapted as a video game.
Lastly, looking at the list of the top 200 successful films in French movie theaters from 1945 to 2010, 63 films were adapted as games out of those that passed the five million viewers mark -- including 10 French films, amongst the hundred or so French films or those productions enjoying mainly French financial backing in the ranking. These 10 actually represent more than half of the French or mainly French-financed films adapted for video games.
As Geoff King points out, New Hollywood has set about reconstructing the genres in terms of the way they were used for producing blockbusters. Genres that had been limited to tight B-movie budgets were endowed with considerable financial resources to meet the spectacular features and prestigious casts of the summer blockbusters. These genres used for producing blockbusters can be summarized in a formula, which our extended corpus illustrates well, as "science-fiction/action/adventure laced with a touch of comedy".
The breakdown is very largely male-oriented, with well-built action stars like Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, Tom Cruise, Vin Diesel, Jean-Claude Van Damme, Kurt Russell, and Wesley Snipes, which corresponds both to the masculinity model proposed by Stephen Kline in Digital Play: The Interaction of Technology, Culture, and Marketing, to describe one of the predominant features of the video game world during the 1980, and the pervasive influence of the "muscular heroes" of Hollywood movies during the same period.
The list of directors includes some movie brats like Steven Spielberg, George Lucas and Brian de Palma and, following them, an affiliated group including Richard Donner, Joe Dante, Chris Colombus, Robert Zemeckis, Ron Howard, Rob Cohen and Joe Johnston.
Lastly, the classification of films according to the recommended audiences indicates a corpus of production aimed at mainstream and family entertainment. According to the classification of the Motion Picture Association of America (MPAA) in effect since the late 1960s, the groups G, PG, and PG-13, designating the greater number of adapted films, characterise 76 percent of the films adapted as games covered by the association. The films not covered by the MPAA either pre-date the entry into force of the classification system or are not screened in movie theaters in the USA. The MPAA classification of adapted films
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