If you could hire the director to make Elden Ring, who would you choose?
You can settle for fantastic heavyweight, such as Peter Jackson or Guillermo del Toro, or maybe you will tap Miguel Sapochnik, a man who brought you many of the biggest battles of Game of Thrones, including hardhome and battle of the bastards. If you are looking for something more avant-garde, you can even choose Robert Eggers (Nosferatu), Yorgos Lanthimos (penniless things) or Bong Joon Ho (Mickey 17)-Filmists who, like the developer Elden Ring of Software, enjoy surreal, cryptic and non-sort.
There is a chance that you will not choose Alex Garland. The British writer and director is known for the grounded, ponderous science fiction ex machina and annihilation dramas, as well as the war layers of War Films Civil War and Warfare-Z-which none of them resembles the work of software in any way. However, Garland is exactly who the A24 film studio chose Magnum Opus Hidetaka Miyazaki for a huge screen. Considering Garland-which, apart from directing, is also to write a script-there is no one that has taken his multidirectional checks and call him, you must wonder how to try to make it work.
At first glance, Garland and Elden Ring really seem to be a strange match. Despite his significant experience with science fiction, Garland has not yet tried his hand at hardcore fantasy-sam in himself a tough species, and even more tough to deal with video game adaptations. In addition, his style does not have much to do with fromSoftware’s. Narrations about ex machina and annihilation are rooted in the story, dialogue and characteristics, while games such as Dark Souls, Bloodborne and Elden Ring tell their stories largely indirectly through objects descriptions and environmental design. (The Art Nouveau war, set in tomorrow’s United States, was widely criticized for the lack of deep history).
But only because Garland has never made a fantasy movie, does not mean that he can’t. Earlier, he came up and ventured to modern boundaries – the civil war and war are radically different from ex machine and annihilation, which, unlike the films he wrote before the director’s debut – so who would say that he would not do it again?
In fact, making an Elden Ring movie would not be a completely unexplored territory for Garland. Many people – including his own fans – do not know that, but he is really an avid player. His experience in playing the game Resident Evil apparently inspired his script for the horror of 2002 28 days later, and the film from 2000. Beach-Parta on one of his novels-the fact inspired by the playing scene, which Matt Plastes Polygon described as “the nearest thing we will ever get” for the movie Banjo-Kazooie Starring Leonardo DiCaprio.
While many filmmakers seemingly pretended to be interest in the material, which are employed to adapt to peaceful the existing group of fans of the said material (I still refuse to believe M. Night Shyamalan, he even watched one episode of Avatar: The Last Airbender), Love Garland to the last of us, Bioshock and – the most essential – Dark Souls seems to be a sincestr. It seems that it has a decent understanding of what makes the series unique and unique compared to other games. Interview with GameSpot In 2020, Garland said: “It seems that Dark Souls games have such embedded poetry. You will have a strange dialogue with some broken soul sitting outside and it seems that you came to this existential sleep.”
By sticking to this picture of the “existential sleep”, Garland can adapt Elden Ring in the direction of annihilation, which after the release was praised for psychedelic visualizations. It would work, but this is not the only path forward. Another less obvious, but probably a more effective action plan would be to adapt Elden Ring in the form of war, a thriller nailing nails about the naval fight in Iraq. I say this not because there is something fantastic in this film – on the contrary, it was sold as one of the most realistic war films that has ever arisen – but because watching it recalls surprisingly similar feelings for those you experience during the Elden Ring: excellent, loser, overwhelmed, overwhelmed, fearing your life (or runs).
Replace the torn wars Iraqi city of Ramadi for the ruins of Limgrave, Alleyways of Leyndell or Badlands of Caelid, and what is left is a film that does not adapt the encyclopedic, excessive, excessive, excessive history of Garen-Nacching Garen-Natural feature of Marika, Radagon, Radagon and semi -mented experience with Marika, Radagon and transmission Through the lands, so they consumed reaching the nearest place of grace in one piece that they completely lost their sight of their greater search for Elden, whatever, to hell, that is.
Considering that Garland apparently wants to throw one of the actors from Warfare – Kit Connor – at the forefront, it is possible that his adaptation Elden Ring finally adopted a similar tone, not to mention that the topics of fear, despair and senseless violence, which Connor has already proved to be possible to convey. The operate of the war as an Elden Ring plan would not only operate the strengths of Garland as a filmmaker who studies psychology through graphics, carefully choreographed action, but also follows the example set by – Fight Me – only a solid adaptation of the video game there, the first season of HBO, whose Last of Us, whose feature is largely derived from the fact that its creator understood Original game.
Elden Ring, like in other software games, is not a fantasy of Power, in which heroes with supernatural abilities beat gigantic monsters through flashy film cutscenes and epic events in a brief time. It is an anti-urban fantasy that reduces players to nameless warriors who have fun with death and hit their heads on the wall of the fog until they finally succeed. To adapt Garland to achieve the heights of his previous films, he was doing well to capture this sweet -bit sentiment. Thanks to our work on war, we can take a look at what it can be when Elden Ring finally comes to theaters.
Tim Brinkhof is an independent writer specializing in art and history. After studying journalism in Nyu, he wrote about Vox, Vulture, Slate, Polygon, GQ, Esquire and others.
