Hollywood, spelbranschen och Riddick

Hollywood och spelbranschen talar inte samma språk, säger Tigon Studios' Ian Stevens och tar bland annat The Chronicles of Riddick: Escape from Butcher Bay, utvecklat av Starbreeze, som exempel:

Q: Butcher Bay was a good example of how to treat a film license well, from the game's point of view - so in other words, not just a 'game of the film'. The understanding that videogames are a different medium, and require a different approach, was an important milestone - so did you know at the time you were working on a special title?

Ian Stevens: I don't think so - to be honest, up until we started getting review scores, the feeling we had from most people was an incredible lack of interest. Seriously. It was a movie game, it was a developer that people hadn't really heard of, it was some actor that people weren't really sure they liked, and it was a publisher that didn't have a reputation for quality. Nobody really gave a sh*t.

I remember at E3 that year, when people actually got a chance to play it, you could see their eyebrows raising. But that was the first time really. We felt as if nobody was really going to pay it any attention.

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