Devolver has a new label dedicated to making games based on comics, films, TV shows and ‘cult heroes’
Devolver will start publishing game adaptations of films, comics, TV shows and “cult heroes” under the label Big Fan, the company announced today. Like Devolver itself, Big Fan will focus on indie studios, which will presumably lead to more risky (or at least more realistically budgeted) adaptations. Think stuff like John Wick Hex, which was not coincidentally published by Devolver subsidiary Good Shepherd.
That may not result in more niche adaptations, mind: Big Fan is already “actively working” with some heavy-duty partners including Disney, Dark Horse Comics, Rebellion and Lionsgate, and the team has experience working on properties including Star Wars, Lord of the Rings, Blair Witch, Dune and more. Most of Big Fan is, in fact, Good Shepherd, just with a different name and a more focused mission statement.
“We believe (and have seen firsthand) that great games that propel existing franchises can offer a connection with a fan that only an interactive experience can offer,” Devolver’s announcement reads. “Independent games created in these universes can explore them in new and unexpected ways, and it’s our goal to raise the bar of what fans can expect.”
The announcement also, perhaps ill-advisedly, invites people to get in touch if they have any ideas. It doesn’t say they have to be good, so go nuts. (Since you’re listening, Big Fan, I think a Telltale Games approach to Curb Your Enthusiasm would be a multi-billion-dollar seller, and Larry David is definitely a “cult hero”.)
Some relevant titles formerly published by Good Shepherd or Devolver have now been relabeled under the Big Fan title, including the aforementioned John Wick Hex, but also Hellboy Web of Wyrd and Reigns: Game of Thrones. As for what Big Fan has in the pipeline, representatives from the studio confirmed with Gamesindustry.biz that there are six active projects.
Videogame adaptations of films, TV, comics—you name it—used to have the reputation of being soulless, half-assed cash-ins, but the last decade has seen a marked shift from that narrative: think the Arkham trilogy, the Spider-Man games, etc. Whether that’s because studios making film tie-ins have woken up to smell the daisies, or just that certain mass market entertainment properties have become more punishingly ubiquitous over the last two decades, is a subject up for separate debate.
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