The Doom of Video Game-Movie Adaptations

Figure 1: Doom (Dir. Andrzej Bartkowiak, 2005) 

For this essay, we shall travel backward a few years, to a time where video game adaptations brought about an immense stigma (before recent shows and films had showed that an acclaimed adaptation was possible), to what could be considered a midpoint of video game-movie adaptations, with the 2005 film Doom (directed by Andrzej Bartkowiak and starring Karl Urban and Dwayne Johnson). It stands as a representative of how many would consider not to adapt a video game, serving both as an example of the problems and the opportunities inherent in adapting video games into cinematic narratives. Where does Doom find itself in the timeline of video game adaptations? Are ludic aspects of games incompatible for film? Ultimately, could either game or its filmic adaptation be considered to have “artistic merit”?  

The Adaptation Hellscape: 

The first level: Video game-movie adaptations ostensibly began with the disastrous Super Mario Bros. (Dirs. Rocky Morton and Annabel Jankel, 1993); but what was quickly recognized as the first significant interface between a motion picture and a video game began in 1982 with Tron (Dir. Steven Lisberger). The film imposes a neon fantasy of this other world inside the computer, this dangerous and bizarre world, and implied the threat computer technology could harbour. Fear of technology, a theme pervaded since even before cinema was invented, with such cautionary tales as Frankenstein (Mary Shelley, 1818) and The Strange Case of Dr. Jekyll and Mr. Hyde (Robert Louis Stevenson, 1886). Whereas those eminent literary works were born from a time of industrial revolution and scientific progress, video game adaptations were born from a new wave of technological development: the rise computers and artificial intelligence.  

In this vein of thought, Doom (2005) takes its root from such already established science fiction themes, heavy handed, it may be. The movie appropriates these tropes from the game, a game which used the science-fiction tropes to cross genre and subvert into grotesque fantasy, with the unleashing of hell and its spawn. The film, however, opts further down the more established, straightforward sci-fi/horror storyline involving genetic experimentation, departing from the mythology of the game series. This apparent divergence could be seen as a lack of understanding of the source material, and there is much online discussion from the time (and in retrospect), decrying this fundamental alteration as a great mistake by the filmmakers (Oli Welsh, 2016). This departure may be seen as an attempt to appeal to a broader audience less familiar with the game's lore, or to have more appeal on the international market where the supernatural, demons and depictions of hell are stigmatised. It all adds credence to the argument that the film was no more than a Hollywood “cash-grab,” banking off the name and the increase in popularity of video games. Moulding of the narrative to “please” more viewers also raises questions about the balance between catering to existing fans and creating a narrative that can stand independently. 

The midpoint: The tail end of the 1990s and early to mid 2000s; after the release of The Matrix (Dirs. Lana Wachowski and Lilly Wachowski, 1999), this cinematic shift proved interaction with a simulated game-like world had potential for the big screen. The darker, grim aesthetic pervaded the representation of the danger technology poses to humanity. The darker colour palette slithered its way into the style of many films going forth, trying to emulate and rekindle that same “look” which helped bring about that film’s success.  

This cinematic wake coincided with Doom (2005) and, in fact, Id Software’s third instalment of the game franchise, Doom 3 (2004), with the film's visual design inspired heavily from it, with its dimly lit corridors and foreboding atmosphere. Its attention to detail reflects a commitment to honouring the source material's distinct “look and feel”, that which took much infusion and clear inspiration from that third Doom 3 (2004) game rather than the first. When visiting the set of Doom (2005), Accardo recounts how: 

“... everything feels straight out of DOOM 3... one set, CEO Todd Hollenshead points out the various textures on the pipes and the walls... the same bumpy surfaces you'd find throughout the game.” (Accardo, S., 2005) 

Doom 3 (2004) itself was not so well received for its own deviations from the original games’ aesthetic, in this regard, by players; therefore, this set design leant already into a fateful clash against fans; its darkness also became off-putting to critics, citing its poor lighting – strange, considering the director worked extensively as a cinematographer for venerated film directors like Sidney Lumet and William Friedkin (Doom 2005 IMBD). As a director, Bartkowiak had only made three prior films; so, the lack of experience as director and a hurried production led to sets being dimly lit from practical restrictions rather than artistic intention. 

Around this midpoint, studios’ momentum shifted the other way, instead “embracing” technology and the intellectual properties which were adapted. The iconography of Doom 3 (2004) especially was harnessed in the film adaptation and representations of the game's iconic weaponry, including the BFG and chainsaw, further underscored the film's effort to cater to the established fan base. Yet, these elements became just that, ephemeral representations, more like gimmicks to justify the “Doom” name. A combination of fan appeal, financial reward and a love for the iconic game all interwove into a widely derided film; the cast acknowledge its shortcomings. In 2009, Johnson described the film as an example of "trying and failing" to do a good video game adaptation, and that it was a cautionary tale of what "not to do." (Totilo, S., 2009) This “trying and failing” however, meant there was an effort in making the adaptation work, to please fans with references, and even an overt first-person sequence, but the apparent conflict between the two mediums and industries led to its “mutation,” pleasing far fewer. 

First-Person for No-Persons: The Game vs. Film and Art 

Figure 2: First-person point of view sequence. Doom (Dir. Andrzej Bartkowiak, 2005) 

“Video games by their nature require player choices, which is the opposite of the strategy of serious film and literature, which requires authorial control.” - Roger Ebert (Moriarty, B.; Caoili, E., (2015) 

Both Ebert and Moriarty conclude player choices in games structurally invalidated the appropriate application of the term "art" to video games, since the interactions with the work wrested control from the author thereby negating the expression of “art”. Yet doesn’t an audience interact with a film? Obviously, not exactly, but one can make vastly disparate interpretations of a work based on how they engage with it, and thus a potentially different experience. One could bring into this discussion Roland Barthes’ seminal work Death of the Author (1967) whereby he posits about how the meaning of a text is not determined by the author's intention, but rather by the reader's interpretation. Subsequently, it has been cited in context for films and cinema, with the director’s intentions and structuring falling, ultimately, to the audience’s judgement and interpretation.  

Similarly, the concept is extended here to video games where the developer’s creation comes under great scrutiny of interpretation with the player being afforded more direct initiation of events within the game space. For the game Doom (1993) it seems simple enough: eradicate the demon threat with an absurd arsenal of weaponry. However, it is the interpretation of the game space which is what is interesting; traversing the set, as it were, and, at its zenith, the involvement of “modding” the game generates the space of how a created work is fundamentally at the mercy of those who consume it. The “glitcher” especially derives from this sentiment in making the game their own (Cao, J., 2023). 

To also assume, thus, that these principles can transmit back into film would not be an unfounded one. With the film Doom (2005) the interactions fans had in being a part of the discussion surrounding the film before and post release. The interaction, the engagement of those who the film or game is catered for, are the ones who truly make the experience (Accardo, S., 2005). 

Conclusion: 

Doom (2005), in a curious way, serves as a case study in the complexities of adapting video games into a cinematic format, with the assumptions at the time of the differing wants of either gamers or moviegoers. Its efforts to replicate the visceral gaming experience through cinematography and visual design are commendable in servicing fans. However, the film also highlights the challenges of bridging the gap between interactive and passive mediums, how both shape each other and how film and game, no matter what level, are more closely linked than what appears at first glance. Ultimately, Doom (2005) stands as a valuable contribution to the ongoing discourse on video game movie adaptations – the artistic endeavour to entertain, to pay homage. In the same way that The Room (Dir. Tommy Wiseau, 2003) is seen as a cinematic failure, yet holds a cultural relevance and reverence; likewise, do other failed film projects hold artistic merit? Is there value in what not to do in addition to what should be done? As Johnson himself said, Doom (2005) was an example of “trying and failing.” (Totilo, S., 2009) Failure can, in itself, contain much merit. 

Bibliography: 

Accardo, S. (2005) On Location With: DOOM: The Movie. Game Spy. http://uk.pc.gamespy.com/articles/652/652260p1.html [Accessed: 04/11/23] 

Barthes, R. (1967). The Death of the Author. Na. 

Cabral, M. (2023). VIDEO GAME TV SHOWS RANKED BY TOMATOMETER. Rotten Tomatoes. https://editorial.rottentomatoes.com/guide/video-game-tv-series/ [Accessed: 04/11/23] 

Cao, J. (2023). The Collector, the Glitcher, and the Denkbilder: Toward a Critical Aesthetic Theory of Video Games. Games and Culture, 18(3), 322–338. 

Doom (2005). Rotten Tomatoes. Fandango. https://www.rottentomatoes.com/m/doom [Accessed: 04/11/23] 

Doom (2005). IMDB. Universal Pictures. https://www.imdb.com/title/tt0419706/ [Accessed: 04/11/23] 

Ebert, R. (2005) 'Doom': The game plays you. RogerEbert. https://www.rogerebert.com/reviews/doom-2005 [Accessed: 06/11/23] 

Frew, C. (2022) The Last of Us creator explains failure of Doom & Assassin’s Creed movies. Dexterto. https://www.dexerto.com/tv-movies/the-last-of-us-creator-explains-failure-of-doom-assassins-creed-movies-2018937/ [Accessed: 05/11/23] 

Moriarty, B.; Caoili, E. (ed.). (2015) Opinion: Brian Moriarty's Apology for Roger Ebert. GameSetWatch. https://www.gamedeveloper.com/console/opinion-brian-moriarty-s-apology-for-roger-ebert [Accessed: 06/11/23] 

Papazian, G. and Sommers, J.M. eds. (2013). Game on, Hollywood!: Essays on the intersection of video games and cinema. McFarland. https://books.google.co.uk/books?id=UOw3n7FPIXMC&printsec=frontcover#v=onepage&q&f=false (p.8-10) 

Sedman, D. & Clark, R. (circa 2017) NEW SCREEN ORDER: HOW VIDEO GAMES ARE CHANGING CINEMA INTERIORITY. The Cine-Files. https://www.thecine-files.com/new-screen-order/#:~:text=Video%20games%20have%20had%20a,and%20Mortal%20Kombat%20(1995). [Accessed: 04/11/23] 

Shelley, M. (1818) Frankenstein. Na.  

The Strange Case of Dr. Jekyll and Mr. Hyde. Na. 

Totilo, S. (2009). Dwayne 'The Rock' Johnson Honestly Discusses Infamous 'Doom' Movie. MTV News. MTV. https://www.mtv.com/news/wosnl8/dwayne-the-rock-johnson-honestly-discusses-infamous-doom-movie [Accessed: 04/11/23] 

Vo, A. (2023) 52 VIDEO GAME MOVIES RANKED BY TOMATOMETER. Rotten Tomatoes. Fandango. https://editorial.rottentomatoes.com/guide/video-game-movies/ [Accessed 04/11/23] 

Welsh, O. (2016). The Doom movie missed the point - but so did most rival games. Eurogamer. https://www.eurogamer.net/the-doom-movie-missed-the-point-but-so-did-most-rival-games#comments [Accessed: 05/11/23] 

Filmography: 

Doom (2005) Directed by: Andrzej Bartkowiak 

The Matrix (1999) Directed by: Lana Wachowski and Lilly Wachowski 

The Room (2003) Directed by: Tommy Wiseau 

Super Mario Bros. (1993) Directed by: Rocky Morton and Annabel Jankel 

Tron (1982) Directed by: Steven Lisberger, 

Gameography: 

Id Software (1993) Doom [Video Game]. Id Software 

Id Software (2004) Doom 3 [Video Game]. Id Software