Levelling up: The emergence of video game movies, music and TV shows

For decades, video game fans were wary of movie or TV adaptations because of the poor track record of studios translating games to the screen.
The 90s saw some atrocious adaptations of video game's hottest properties with Mortal Kombat, Street Fighter and even a terrible Super Mario Bros movie.
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The 2000s were not any better with the likes of Assassin's Creed, Prince of Persia and Silent Hill all being panned critically and only performed modestly at the box office.
At times, it felt like there would never be a faithful adaptation, but thankfully, that has all changed in recent years. With video games as a medium maturing, studios started to realise what medium suited each game.
Instead of making a two or three-hour movie based on the groundbreaking The Last of Us (which is around 15 hours), HBO decided to make a TV series to fully flesh out the dark and brutal world of the source material.
Amazon Studios decided to create a brand new story in the world of Fallout rather than rehash the story from one of the games. It was a great decision, as it introduced the world of Fallout to new viewers and with a new set of characters to get invested in.
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It also meant they did not have to try and translate gameplay moments onto the small screen and instead come up with their own set pieces for TV.
Box office receipts
With both shows being nominated and winning multiple Emmys, it highlighted how far video game series had come.
When it comes to the big screen, we are seeing more family-friendly movies based on video games having great success. The recent Sonic trilogy has grossed a total of $1 billion (€88 million) and The Super Mario Bros movie alone grossed €1.36 billion (€1.2 billion) at the box office.
It once again shows how, when you match a video game franchise with the right format, you can have a massive hit.
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With the likes of a God of War show and a Legend of Zelda movie in the works, there are plenty of games still waiting to be adapted.
It is not just movies and TV shows, as music from video games has become increasingly popular, with some of the best composers scoring video games.
It is not just movies and TV shows, as music from video games has become increasingly popular, with some of the best composers scoring video games.
Bear McCreary, Gustavo Santaolalla,
Nobuo Uematsu, and Christopher Tin have all created iconic soundtracks for the biggest games out there.
It is just another way to relive the experience of playing your favourite games without having to play.
This was certainly the case on Saturday, April 19th, at the
3Arena
when PlayStation kicked off their global tour which showcased the music from their biggest franchises, like Ghost of Tsushima, God of War, Horizon and The Last of Us.
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A visual feast
A group of 15 multi-instrumentalists put on a brilliant show that mixed epic anthems with more intimate numbers. Accompanying it was an incredible visual feast for the eyes that was a pleasure to experience in person.
Several transparent screens came down from the roof and had impressive visuals displayed on them to complement the story being told through the music.
The mix of footage from the games and custom-made videos for the concert was spellbinding. It was truly an audio-visual experience as everything blended together so seamlessly.
The only drawback of the show was at times, the orchestra played some of the lesser-known songs from these games and could have added main themes from some of the smaller games in the PlayStation library instead.
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The PlayStation concert had some of the best live visuals I've ever seen! The orchestra were incredible as well and got a deserved standing ovation at the end. What a show.
#PlayStationTheConcert
pic.twitter.com/6DvM6ZRDRQ
— Kenneth Fox (@kennyboyfox92)
April 19, 2025
Video game concerts in general are becoming more popular with the likes of Sonic Symphony, Final Fantasy's New World and Video Games Live gathering fans from far and wide.
Sadly, many of these tours do not grace our shores and are centred around North America. Thankfully, the likes of the PlayStation Concert, coming here hopefully, means more concerts will be headed our way.
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The Last of Us thrills viewers with an episode for...
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It is clear video games are a hot property at the moment, and studios realise it is better to give the adaptation the care it deserves as opposed to a cheap cash-in.
It is clear video games are a hot property at the moment, and studios realise it is better to give the adaptation the care it deserves as opposed to a cheap cash-in.
In truth, that is the real story of video games being translated to movies and TV. Executives saw the money they could make from these successful franchises without thinking about how to make a faithful version of it.
As they slowly started to learn this lesson, we have thankfully seen brilliant adaptations that not only expand on the game's original stories but have garnered millions of new fans who are more likely to play the next game and watch the next show.

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The Guardian

10 hours ago

• The Guardian

From Street Fighter to Final Fantasy: Yoko Shimomura, the composer who put the classical in gaming's classics

Alfred Hitchcock, David Attenborough, Harold Pinter, Stanley Kubrick, Ridley Scott, Hideo Kojima – these are just a few of the recipients of the Bafta fellowship, the highest honour the academy can bestow. Japanese composer Yoko Shimomura is the latest to receive the accolade; one of only 17 women and four Japanese people to have done so. She is also the first video-game composer to be recognised by the British Academy of Film and Television Arts, and the first composer recognised at all since John Barry in 2005. It is with good reason that the academy has honoured her. Shimomura is an icon. You'll know her music from Street Fighter, Final Fantasy, Super Mario, Kingdom Hearts, Legend of Mana, Streets of Rage and more than 70 other games she has contributed original compositions or arrangements to. Her 37-year-long career has seen her record at Abbey Road Studios, have her music played by symphonic orchestras around the world, and work in genres ranging from rock to electronica, ambient to industrial, pop to opera. And yet Shimomura seems unchanged by her success. 'Certainly, over the course of my career, there have been a number of times – a lot of times perhaps, compared to other people – where I have struggled. Enough to think maybe I want to give up.' She tells me that even as far back as her first job at Japanese developer Capcom, she thought she had maybe two or three years in her before she'd quit. She also says she applied for that job with 'barely any hope of getting accepted' – with a modesty that still seems a core part of her character. 'Even though I love this job, there have been plenty of times when it was really hard for me to continue. I couldn't sleep, and I would especially struggle as deadlines would approach.' Part of her fatalism came from the culture of video games in Japan in the late 80s. Despite the thriving arcade and development scene later leading to the mainstream success of the PlayStation in the mid-90s, pursuing a career in video games was seen as a dubious prospect by Shimomura's peers and family. 'This is something I think most gamers who were around at the time will understand,' she laughs. 'Generally, my friends and people I hung out with were not big gamers, so they weren't too familiar with what games really were. At the time, a lot of them were confused about what a job in video-games music even was! Certainly, my parents were not of the generation who would have played the Famicom [the NES], so they would say things like: 'Oh, video-game music? Is that a job? Is that real?' There was a lack of knowledge and understanding about the profession, really.' Surprisingly, given the male-dominated western world of video games in the 80s and 90s, Shimomura tells me that a lot of her colleagues in the sound department at Capcom were women. The developer split its composers into corporate and consumer divisions, where the top staff were all female. 'I felt that since the head staff were women,' she says, 'it was easier for other women to join the department.' Her peers began to understand how serious Shimomura was about her musical career with the release of Street Fighter II in 1991, the ninth game she worked on. 'That's when the tide started to turn. It sold so much, and so many people knew it and became familiar with my music, that it was a really significant title for me. I certainly think it's why I ended up working with Square on titles like Live a Live and Front Mission – because the bosses there knew me from Street Fighter.' For Street Fighter, Shimomura would study the character designs and personalities of the fighters, then design themes for them. She would also pore over the detailed pixel art stages for each character, and draw out details from their 'home stage'. She would then compose music based on the character's ethnicity and culture, often to striking and unusual effect. The best example, to my ear, is the use of a major key rhythm track for the Brazilian fighter Blanka, while the main melody playing on top of the rhythm is in minor. It's odd but it works, and gives the green-and-orange fighter a musical identity as as much as a visual one. Shimomura's classical background gave her the tools to work techniques such as this into her music. She eventually departed Capcom for Square, the most famous RPG developer in the world, because she wanted to work on games where she could utilise classical composition techniques. 'Why is classical music such a good fit for RPGs? I think it's because so many of those titles are set in medieval, European-style worlds where that music naturally belongs,' she says. 'But even if an RPG is set in a more modern take on a world, they're very rarely close to reality; the game world is of another age. And classical music is of another age too, so it's a very good fit.' The first project Square set Shimomura to work on was Live a Live, a 1994 RPG that takes players on a fantastical journey as eight characters across nine scenarios. 'There are so many different worlds and different settings in there, and very few of them actually needed classical music, so it was completely different to what I was expecting,' she laughs. Sign up to Pushing Buttons Keza MacDonald's weekly look at the world of gaming after newsletter promotion Shimomura would not get to flex her classical music muscles the way she really wanted to until Square's 1999 release Legend of Mana, on which she felt she could truly express herself. 'Until that point, at Square, the projects I worked on did not allow me to do something 100% from scratch,' she explains. 'There were always other factors, other legacy things that went before it. Music in Live a Live had to align with the characters. For Parasite Eve, I had to work with what was established in the original game. Mario RPG, of course, is set in the world of Mario and had to be 'Mario music'. I was not free to create something from the ground up until Legend of Mana.' Legend of Mana would be foundational for the rest of Shimomura's career. Three years later she would work on Kingdom Hearts, the now-mainstream success that trades on the unlikely idea that the worlds of Final Fantasy and Disney could somehow become merged. 'When it first released, Kingdom Hearts wasn't a big hit,' Shimomura recalls. 'After it was released, it was one of those hard times I mentioned before: I left Square, and I wasn't sure if I was going to continue in this job or not. But then they came back to me and asked if I wanted to work on Kingdom Hearts II, and that was significant for two reasons. One, it proved I could continue doing this as a freelancer. And two, it was the first time I'd been asked to come back and work on another game in a series.' Even at that point, 17 years into her career, Shimomura was uncertain about her standing in the world of video-game music. 'I think, both professionally and in a sense of personal growth, that's why Kingdom Hearts means so much to me.' Now, 37 years since her first job at Capcom, Shimomura has been lauded with Bafta's highest honour, and she is still as polite, humble and respectful as the young woman poring over Street Fighter's stages. 'I was blessed to have mentors and seniors who really helped me grow as a composer and taught me a lot of what made me who I am,' she says. 'I feel very lucky, and it is down to all those people that I am here talking to you today.' And her advice to other young women hoping to break into making music for games today? Be tenacious, persevere and work through that self-doubt. 'I think the reason I haven't given up is because I always make myself think of the love I have for music and for games. I cherish that feeling. And so if people do ever think they want to give up, please, cherish that feeling of love yourself, and keep going. I hope I can be an example for people when times are tough. If I can get over that, I hope that they can too.'

Metro

a day ago

• Metro

Ralph Fiennes warns new Voldemort in Harry Potter TV series of danger

After playing the role of Voldemort for five films between 2005 and 2011, Ralph Fiennes is bound to have some valuable advice for whoever plays the 'Dark Lord' in the upcoming Harry Potter TV adaptation. Fresh off of the success of Conclave, the three-time Oscar-nominated actor is receiving high praise for his latest film 28 Years Later. But it is his previous turn as He-Who-Must-Not-Be-Named in the film adaptations of JK Rowling's book series that is drawing particular attention. So far, HBO's TV reboot of Harry Potter has confirmed some of the biggest names in Hollywood – including the likes of John Lithgow, Paapa Essiedu, Janet McTeer, and Nick Frost. Meanwhile, newcomers Dominic McLaughlin, Arabella Stanton, and Alastair Stout will be playing Harry, Hermione, and Ron, respectively. But while the role of Voldemort has not yet been cast, Fiennes still has some words of wisdom for whoever chooses to play him. During an interview with Entertainment Tonight, the 62-year-old said: 'Make sure you can handle the long, flowing robes, and don't trip over them. Practice your long, flowing robe walk.' Fiennes went on to explain how his tights, which were one piece that had a gusset, 'kept getting lower and lower throughout the shooting day and became uncomfortable'. He then said he requested 'individual tights like a garter belt' so that he could tease the stunt guys 'by lifting up my robes and showing them my garter belt'. Our TV reporter Milo Pope shares his thoughts on some of the names rumoured for the part of Voldemort… It has now been two years since HBO announced it was rebooting Harry Potter in the form of a TV series, but the wave of public opinion against it in the wake of JK Rowling's offensive comments on trans people has not weakened in the slightest. The decision is clear for any actor who decides to take part – you are going to receive backlash. Even the most loyal Harry Potter fans in the world are revealing that they are going to boycott this series. It's inescapabale. For that reason alone, to take such a high-profile role such as Voldemort, it is a poisoned chalice. But beyond that, to try and fill the shoes of Ralph Fiennes who was iconic as He-Who-Must-Not-Be-Named, it becomes an even more difficult task. If HBO manage to land two high-calibre actors such as Cillian Murphy or Tom Hiddleston, it could massively help the PR behind the show. But in my mind, I'm not sure either of those are willing to risk their name. Fiennes played Voldemort for five Harry Potter films, making his debut in 2005's Harry Potter and the Goblet of Fire. The actor went on to play the villain for the rest of the film series, which ended in 2011 with Harry Potter and the Deathly Hallows – Part 2. Fiennes was previously asked to address speculation over whether Cillian Murphy would take over the role during an interview on Watch What Happens Live. He said: 'Cillian is a fantastic actor. That's a wonderful suggestion. I would be all in favor of Cillian. Yeah.' More Trending Despite his blessing, British actor Tom Hiddleston is said to be the leading contender for the spot. This comes after fans recently spotted a major problem following the casting of Bel Powley and Daniel Rigby who are playing Harry's aunt and uncle, Petunia and Vernon Dursley. A number of people online thought that the pair were too young to play the Harry's last living relatives. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. View More » MORE: Sir Stephen Fry turns on JK Rowling and claims she's been 'radicalised' MORE: Jodie Comer talks through her character's agonising journey in unseen 28 Years Later clip MORE: Harry Potter star's new TV show with trans icon is coming out imminently

Daily Mail​

2 days ago

• Daily Mail​

Aggie MacKenzie says Kim Woodburn 'haunted her dreams' after their two-decade feud began when she 'pushed her to the ground' as she reflects on fraught relationship after her death

Aggie MacKenzie has revealed the moment her friendship with Kim Woodburn came to an abrupt end, as she reflected on their fraught relationship following the star's death at 83. The pair had once starred in the Channel 4 series How Clean Is Your House? but after a shock fall-out, would barely exchange a word in the final two series of the show. In the past, Kim had insisted that she and Aggie 'never got on,' and the latter previously claimed she was left needing therapy after working with her co-star. Following Kim's death Aggie has now told The Mirror about the cause behind their fallout, admitting it was her co-star's anger that brought their working relationship to an end. The star, who now works as a yoga teacher, said that the incident occurred while they were performing as the Ugly Sisters a pantomime show in 2008, She said: 'Kim missed her cue so I tapped her on the shoulder. We went on and did our scene, but when we came out at the other side, Kim was furious. She pushed me. She actually pushed me so hard that I fell over.' 'I lost it then. I really really lost it with her. I was so furious because I wasn't expecting to be pushed over like that.' Aggie went onto reveal the row threw the whole pantomime inot chaos, as Kim ran off to her dressing room 'crying her eyes out,' and she refused to go back on stage. While bosses scrambled to save the show, drafting in a lead dancer to take her place, Kim then suddenly decided to continue with the show, with Aggie admitted she felt 'crushed and disrespected' by her co-star's behaviour. The former presenter added that she never received an apology from Kim for her behaviour, adding: 'Essentially, she probably had no confidence, she probably deep down hated herself, and so in order to survive she had to put on a big front to keep herself protected and to keep people away. 'If she apologised to me, that would be showing weakness in her eyes. So no, I never got an apology from her.' Aggie admitted she was 'surprised and shocked' when she learned of Kim's passing, but struggled to recall the last time she spoke to her. 'I have no memory of the last time I spoke to Kim. It was years and years ago. But I did used to dream about Kim a lot, but I never actually saw her in real life again. The dreams were mostly about us making up and being friendly again,' she said. Following Kim's death, Aggie shared a statement with the Mail where she branded the star a 'tormented soul.' She said: 'Kim was a tormented soul, but now she's finally at peace. 'We clashed often. Behind the fierce persona was deep pain and incredible strength. She survived because she had to. I hope she's resting now. She was an unforgettable woman.' Speaking to The Sun , Aggie said her time with Kim was 'one of the strangest, most intense working relationships' and it felt like 'walking a tightr tpe'. Detailing Kim's childhood trauma, she added: 'Kim was always battling something. She could be bright and brilliant one minute, then stormy and defensive the next. That wasn't entirely diva behaviour. That was also trauma. 'There were moments - even on set - when I'd catch a glimpse of that frightened, furious young toddler whose needs had never been met.' While the pair didn't get on, Aggie claimed that the 'friction' between them but that it helped make the show work better. She also admitted that their show finished because their relationship had become too fractured and it was too hard for them to continue filming together. Kim's passing was announced on Tuesday. Her representative confirmed to MailOnline: 'It is with immense sadness that we let you know our beloved Kim Woodburn passed away yesterday following a short illness. 'Kim was an incredibly kind, caring, charismatic and strong person. Her husband Peter is heartbroken at the loss of his soulmate.' The statement continued: 'We are so proud of the amazing things Kim achieved in her life and career. 'We kindly ask that Kim's husband and close friends are given the time and privacy they need to grieve. We will not be releasing any further details.' Known as the 'Queen of Clean', Kim rose to fame as the co-host of Channel 4 's popular series How Clean is Your House? at the age of 60. Kim went on to become a household name on ITV chat shows This Morning and Loose Women. She also starred in a number of reality TV shows including a stint on I'm A Celebrity... Get Me Out Of Here! in 2009 and Celebrity Big Brother in 2017.