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刺客信条:拍游戏衍生品还是想拍电影?

 

 

没有任何规矩禁止历史题材电影不能跑跑酷玩杂耍,但对一部电影,以及电影观众来说,肤浅的虚构世界和愚蠢的正邪对抗,是不足以撑起一部有着雄心壮志的游戏改编电影的。

 

编辑:洋小李 | 主播:大宝

 

 

 

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游戏改编电影总是有着很大的风险。在之前诞生过《魔兽》这种怪物级游戏改编电影的2016年,基本已经没有什么内容是“魔兽:情怀是把双刃剑 打交不能全靠它”没有说明白的了。不过令人遗憾的是,每一部新的游戏改编电影总是舍不得进步,顽固地守着来自用户规模更小的游戏圈的既有财产,不情愿在一部好电影的方向上多走两步。技术的升级无法改变观念上的陈腐,而后者才是实现一部成功游戏改编电影的绝对关键。
为什么游戏改编总是比漫画改编要难?我觉得两个字:交互。要将高互动的游戏产品改编为低互动的电影产品,其中自然有着必须舍弃的内容。电影对于大多数观众来说,都是一次性消费品,通过对观众的引导,强调创作者想要表达的内容和思想;而游戏则尽量避免成为一次性消费品,注重观众/玩家的主动探索,增强对游戏机制/背景世界的理解,并且高度强调内部圈子的作用——这其中蕴含的信息量就大不相同。具体到《刺客信条》上,就不难发现电影的创作者们犯了哪些错误。

 

《刺客信条》的魅力在于复杂多端的阴谋论吗?在于圣殿骑士和刺客组织的延绵斗争吗?或许是。但其最具吸引力之处,应该是历史的参与感。玩家操纵刺客祖先潜行刺杀,在宏大的历史背景中自由活动,并且在虚构和真实的历史人物之间互相往来。对于大部分玩家来说,是这些内容提供了游戏的绝大多数乐趣,而不是绝大多数时间不见首不见尾的远古外星科技伊甸苹果。但无论是《魔兽》还是《刺客信条》,都过于依赖“游戏本体”这根拐杖,后者甚至到了坐轮椅的程度。
出于保护IP的意愿,随着游戏大厂纷纷自建厂牌突入电影行业,和上个10年的游戏改编电影相比,今后的游戏改编电影将受到更多来自于游戏大厂方面的影响。这种影响是两面的。首先,更多为人称道的游戏元素将在电影中得到保留,我们再也见不到“德意志游戏改编世界第一”的乌维·鲍尔之流随便糟蹋他人心血了,再也见不到《生化危机》这样把原型拧成麻花捧老婆了;其次,游戏厂商的保护欲望和影视行业的既有规律必将展开更深层次的碰撞,是游戏玩家优先,还是电影观众优先?是想讨好旧粉丝,还是想拉入新粉丝?以及最关键的问题,是想拍游戏衍生品,还是想拍电影?
编剧构成上,我们见到了来自“惊世大作”《法老与众神》的两位编剧,以及和导演贾斯汀·库泽尔合作过《麦克白》的迈克尔·莱斯利。这种经验缺缺的编剧和导演的搭配显然很经济,并且对于游戏大厂来说,也更容易传递想法和施加压力。出于此,在《刺客信条》的游戏中,才有了不断强调“信条”这一做法,将抽象化和世界规模的对垒,转为世袭和家族化的门派斗争,为个人编织复杂的,或者说苦大仇深和波澜壮阔的身世背景,再将其投影到所谓的正邪对抗之中。但不要忘了,游戏体验的重心依旧是历史。但到了电影中,占到篇幅1/3的西班牙宗教审判的历史背景根本没有任何必要性,只是为了给一系列炫酷和高还原度的超长动作戏码添加表演空间而已——事实上,这些下了巨大功夫的动作设计是本片为数不多的可取之处,片方对其重视程度甚至达到了影响正常叙事的地步——人物没有交代,和历史没有交集,来龙去脉没有得到很好地照顾,为数不多的台词量还全是西班牙语自带硬字幕,于观众于自身都产生了严重的割裂,呈现出巨大的架空感。
那么另外2/3的现代戏份呢?和游戏的做法一样,形而上的正邪对立一定要落到个人私仇上才能与观众产生共鸣。但全片绝大多数时间都局限在Abstergo的研究机构内部,和古代情节一样,只见一叶不见泰山,必然会导致割裂和架空。典型例子,就是我们虽然见到了小时候的主人公卡尔·林奇,见到了他的父母惨剧,但是高度片面和短暂的表现使得观众无法与其产生任何有效的情感联系。而整个现代戏份由于过于强调故事的神秘感而显得非常空洞,不厌其烦地抛出哲学和神学词汇,但除了Animus功夫练级和拗台词拗姿势以外,对整个极富talent的演员卡司来说都是巨大的浪费。
没有任何规矩禁止历史题材电影不能跑跑酷玩杂耍,但对一部电影,以及电影观众来说,肤浅的虚构世界和愚蠢的正邪对抗,是不足以撑起一部有着雄心壮志的游戏改编电影的。
Not attractive nor connected. 《刺客信条》就是游戏改编领域的《灵魂战车2》,视觉语言上的高度风格化是一招险棋,但是很遗憾,过于羸弱的底子,令这招没有奏效。

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