Video Games and Movies Critical Essay

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Games can be considered as toys, but toys do not always involve the principles and rules of game. On the one hand, there are slight differences between the concept of game and toy.

On the other hand, they are particularly highlighted in terms of design, freedom of action, and limitations imposed either on game or digital toy. In his article, Schiesel forwards this message to discuss such famous digital toy as Mr. Wright’s invention called Spore and compare it with other games, in which rules and principles matter more than the actual hero engaged into the strategy.

In fact, the presence of tactics, strategies, and rules interest adults more than children because the former is more concerned with the restrictions in which their actions are presented. Children are more interested in freedom of actions that allow them to create second alter ego in a digital environment.

According to Schiesel, “Spore gives users unprecedented freedom to bring their imaginations to some semblance of digital life” (n. p.). Therefore, the toy provides users with a wide range of tools for revealing their creativity. It can also be presented in various capacities because users are free to choose the roles and functions they can perform.

Unlike toys, games are created to insert the toy in a specific context, in which various directions and strategies could be worked out. More importantly, games are more fascinating for users who believe that evolution is not possible. Finally, toys are not able to provide people with the dynamics that the game can introduce because toys are not able to adhere to a specific outcome.

Although video games allow to users to feel themselves heroes who can have supernatural powers and extra abilities, the heroes presented in the movie seems to be more energetic and realistic. This is of particular concern to the new James Bond – Daniel Craig, whose depiction of 007 agent is recognized as an overt and brilliant performance.

In the article, Scott focuses on Quantum of Solace film and assumes, “James Bond is a much livelier character than either of those mopey vide-game ciphers, but he share with them the astonishing ability to resist, indeed, to ignore, Ms. Kurylenko’s physical charms” (n. p.).

In contrast to Pierce Brosnan’s depiction off complicated emotions, Mr. Craig seems to be more confident in representing rough temperaments accompanied with thoughtful representation of his inner experiences. His sympathy with another Bond’s girl differs much from previous interpretations of the image. In addition, the atmosphere of Quantum of Solace is largely influenced by Bond’s previous experiences and challenges and, therefore, is film is less brutal and more lyrical.

In fact, Scott’s focus on emotional constituent in the movie is justified because “007’s grief and rage, the source of connection to Camille, are forces more powerful than either duty or libido” (n. p.). Craig’s version of Bond seems to be emotionally and psychologically deeper as compared to previous reincarnations of the agent.

Therefore, the article accurately conveys the main peculiarities, themes, and problems in the movie, as well as successfully outlines the main features of Craig’s hero. More importantly, such an interpretation explains the differences between Craig and other actors’ performances and defines new directions in the character development. Finally, Scott manages to define the types of relationships between Bond and Camille that differ much from previous interactions.

Works Cited

Schiesel, Seth. “”. The New York Times. 2008. Web.

Scott, O. A. “”. The New York Times. 2008. Web.

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