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ucli like lilni. \ideogames liayc long looked to coniics tor their inspiration. It's tertilc ground that has led to liltic‘klitlslt‘t' iiimics lllxt‘ Hut/mm liter/ix and the .\'-.llt'ii series. While these moxies lia\c uie\itali|y ended tip with a yidcogamc adaptation tintriguiugly the game that accompanies the waye ol iiitii‘kc‘tiiig lor .\'.\' is a prequel. set between nio\ies. which e\pl;iins why \iglitcrawlei is ahsent troni the current sequel i. there are tar more interesting works making the leap l'rom page to ioy stick. In addition. comic creators are getting in\ol\ed to create some great games direct t'roni the panels ol‘your layourite comic books.
('omic hook characters liaye liccn cropping tip in \ideogames. \irtually since the inception ol the gaming console. llowe\cr. it's only with the current generation ol consoles that things ha\e really hotted tip. more processing power and storage space haying hrouglit aliout a gaming experience that goes some way to capturing the e\ei=e\o|\ ing wtit'ltl (ll. comics.
.-\s with ctititics. ll. _\t)ll immerse yoursell in tlie world and culture ol‘ gaining you soon realise how much talent is inyolyed. Both media are easily dismissed as ‘kids stul'l"; hut this does ‘GEEKY' them a graye disser\ice. The” creators c‘t‘ull ininiersiye worlds. the
characters C\islllig in
complex and lully realised uniyerses. Like comics.
gaining inhabits the same ‘geekier‘ tl‘or want ot' a hctter wordi male sphere ol' popular culture. ()l late. hotli haye liecoiiic more socially acceptalile. although \ideoganies liaye made greater strides towards pulling tlieniselyes out ol' the ghetto. and are now on their way to being as widely accepted as teleyision and film. This is larger thanks to the Sony PlayStation. which changed perceptions loreyer. Sony knew exactly what it wanted l'rom its market: adult :Jitlllcl‘s. Now. the coiiiparatiyely recent art lorni ol' \ideogames is earning
. hillltitis and hillltins ()lllOllill's 0' I I a ('omics haye neyer managed this lexel ol' success. l'.\cti alter spawning massiye hlockhuster lilms such as Spit/«r» .llmi. Superman and Sin (7/); the medium is not snatching tlie
Wlth. the release Of Rogue Trooper’ Henry Nonhmore IOOkS at cash in anything like the same way. Back in the 80s. with the links between comics and Videogame culture. lliut'limt'n (Ind Durk Knight Returns. it innit-ti like utt-
niainstream beckoned tor comics. lt neyer quite happened.
VIDS THAT BORROW FROM c0M|cs While its prolile has been raised. the genre is still at the leyel . . l‘ "h'; it. ‘ it t; ntl i it '11; ' iing uh 'ultur '. \'i l -ogam 's ar- RogueTrooper (Elms/Rebellion) Adapted from: 2000AD U H I" U" x l '\ U L m ‘ \ k L U ‘ L &
reyiewed in daily papers. magazines and on TV. while The
Marvel Nemesis (EA) Main Characters: Spider-man, Wolverine, The Imperfects Us! is unusual in running comics reyiews on its pages. A lot "‘T°"'_'"“"Z”“_""“””“‘ . “5”.” "” ’ ‘ ' ‘ ‘ 1' this is due to adyenising. and while Maryel and l)(' ain‘t Ultimate Spider-man ctm n Ma rvrll in :The reen ' The ° ' U . s . . www— (A _ -lo..,_-a,. - . , ,gpblm’ , ,ngpm shun ol a buck or two. compared to giant conglomerates like The Punisher (THO) Main character: Frank Castle (The Punisher) Sony or Microsoft they are positiyely paupers.
So could comic culture learn anything t'roni \ideoganie
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