Trigger Happy

was based on it. You couldn’t play the movie, so it was far inferior in terms of high-speed thrills.

Of course, films become works of art in their own right by involving the spectator emotionally. But there is precious little emotional material in an actionoriented videogame for the filmmaker to latch on to. A film based on a game, therefore, is likely to be utterly impoverished in two ways: not only by failing to provide the fundamental attraction of the videogame experience, but by failing to exploit what the medium of film itself is best at doing.

Videogames, in fact, have the better of this strange relationship, in that they are able to suck into themselves more aspects of the filmic art without compromising their raison d’Être. For one thing, more and more videogames now contain mini-“films” in their own right. Known as FMV (“full-motion video”) sequences, these are almost always computergenerated scenes that advance the plot around which the game is based, such as in Final Fantasy VIII or Tomb Raider: The Last Revelation. The visuals might be digital, but they are voiced by real actors and graced with filmic scores. They function like the proverbial carrot and stick: the player must successfully complete a portion of the game before the next “film” sequence

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Magnavox Videogames and the Entertainment Revolution Trigger Happy manual