Every veteran of the film and television industry is well aware that getting a loan for one's work can be a long, confusing and frustrating bizarre process. While some credits are quite cut and dried-it is not too difficult for the actors to be recognized for their performances, as they can be clearly seen-people behind the scenes involved in making film and television can potentially be imposed as official loans. When it comes to writers trying to get credit for their work, they have the hardest of anyone. That process of credit writing credit, especially when the rules of Writers Guilding of America (WGA) are involved, can be so long and mysterious that, in some cases, people who end up with the final loan can be argued.

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This game of music chairs in terms of credit (and thus, such important perks as visibility and financial royalties) have expanded only to other forms of media like IP madness that Hollywood has for the last decade and changes continue. For example, though Marvel's film universe still enjoys a large amount of success, he has He has always had trouble giving the creators of the comic book the appropriate credits for movies tailored to their work. The adaptation of video games in movies has a similar question. However, this is not just a black and white problem, because while artists involved in work, they need to get a credit credit, it becomes customary for extensions, spin-offs, remake and adaptations to complete a little similarity with that original job, which means people more responsible for this New The version should receive the lion's part of the loan.

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Exactly this problem facing The film version of this month at Dawn, Cinema Iteration of Video Game of the same name that was published in 2015. As director Ted Geogegan pointed out BlushkiThe writers of the game do not receive any credit for the film version. However, as screenwriter F. Robert Cargill and others in response, this is a common practice, frustrating as it can be. In addition, in this particular example of "Dawn", it is difficult to say how much credit the writers of the game of film that deviate a lot of that original game should get. As can be seen, there are many factors and nuances, which means there is no easy solution to this long -term issue.

According to GeoGegan, the original writers of the game "To Dawn", Larry Fesen and Graham Reznik, are not deserved along with Gary Douberman and Blair Butler for the film "To Dawn". Given that, this would seem like a mass insult, especially when someone is considering the fact that because of the characters and narratives for the game, Fesen and Cerznik wrote the longest script for a graphic adventure game so far. No really: They even got involved in the Guinness Book of World Records for it. Given this, plus the history of the duo by making Indian horror movies and TV shows, it makes sense to make their shortage of credit that could feel like remarkable surveillance.

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However, As Cargille correctly states in GeoGegan's responseThis approach to the video game loans to the screen has been "over 30 years" and unfortunately is a pair for the course. Screenwriter "Sinister" continued to explain how the WGA Credit Methodology for Video Games was never friendly to writers at all:

"Having a tailored video game for the screen in the past, the WGA rules around them are very different from the" literary "material. If someone gets a loan, it's the studio, not the writing team. "

Yes, partly thanks to the fact that most video games are not or cannot be attributed to an author, WGA has long decided that every adaptation credit should go to the studio that produces the game, not the individual writers or creators themselves. It is only an example of games creators who have made a career out of separation (like Hideo Kodzima) where the individual can be credited instead of a studio. Hack, even Max series "The Last of Us" He credits the game co-creator, Neil Drakman, as a shower and creator of the show (because he is), but instead attributed "based on the game" to the "Naughty Dog Studio". These rules are rules, and although they can be imperfect, they are also impersonal.

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Even if the film "To Dawn" was a direct lift from the story of the video game, it will still be the subject of those long-established rules for video games adaptation. However, the fact is that the film version of "Dawn" has very little similarity to the game, deliberately, as it tells a totally unique story with completely different characters. There are really only two elements of the game that are transmitted to the film: the presence of actor Peter Stormar (which may or may not play his character from the game, depending on your interpretation of both the game and the film) and the involvement of the variation of the mythical creature Vendigo. While this will be enough to borrow Fessenen and resize a loan for politeness, it is not a significant part of the image, and the rest of which includes settings, characters and monsters unseen in the game.

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For his part, the Croatian seems to agree with this estimate, even though he has not yet seen the film version itself. As he responded in the blouses discussionHe did not expect any credit because the game "was such a group effort and we separated Larry and I always felt strange in the first place". He continued to say that the deviations of the film from the story of the game seem to be "smart for a bunch of reasons", most likely referring to the almost impossible task of taking a narrative as a game as a game and trying to avoid a movie script. So, at least by the construct, there seems to be not very bad blood between the writers of the game and the directors anyway.

In my opinion, "Dawn" is one of the most intriguing horror films and video games adaptations to appear this year, a film that works at both levels and promises extra ingenuity to be found within the adaptations to play. Although it would be a very kind gesture to give Fessen and Cerodus some credit on the screen, at least their credit is still properly attributed to where they should, and they even have an original world record to show it. Navigating the strange branches of the film and television industry is dangerous enough; After all, what is important is that the artists involved in the party we want to be recognized and neatly rewarded for their work. In an example of "Dawn", and the game and the film, we at least know who is.

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