Kingdom Come: Deliverance 2: From Epic RPG to Festival Film
The evolution of video games extends beyond interactive entertainment; they are also influencing cinema. Adaptations and integrations of games are increasingly visible at major film festivals. While live-action game adaptations are well-known, a new form emerges: the “Cinematic Cut.” One example, Kingdom Come: Deliverance 2 Cinematic Cut, debuted at the Karlovy Vary International Film Festival (KVIFF) in the Czech Republic. This wasn’t a typical adaptation, but rather an abridged version of Act One of the game, re-edited into a two-hour linear movie. This unique experiment blurred the lines between gaming and film, sparking intrigue and dialogue within both industries.
The Genesis of an Unconventional Collaboration
The idea originated from discussions at the official launch of Kingdom Come: Deliverance 2. KVIFF’s artistic director, Karel Och, noted that the initial contact came through mutual connections, leading to both Warhorse Studios and KVIFF expressing eagerness to collaborate. Both the game and festival were interested in pushing boundaries. Warhorse’s communications director, Tobias Stolz-Zwilling, explained the festival’s ambition to modernize and introduce something new to its audience. Recognizing KVIFF’s reputation for attracting a younger, more adventurous crowd, Warhorse saw this as an opportunity to elevate the cultural relevance of video games within mainstream media.
Bridging the Gap: A Filmmaker’s Perspective
Petr Pekař, the cinematic director of Kingdom Come: Deliverance 2, brought a unique perspective to the project. With a background in film editing and directing, he found a career in video game cinematics after realizing the limited opportunities in traditional filmmaking in the Czech Republic. He transitioned to Warhorse after working on Mafia 3, becoming a cinematic designer for the original Kingdom Come before stepping into the role of director for its sequel. His experience seamlessly bridged the gap between cinematic storytelling and game development, making him an ideal candidate to spearhead the Cinematic Cut.
From Interactive Dessert to Cinematic Feast
Pekař contrasted the purpose of cutscenes in games with that of a standalone film. In games, cutscenes serve as a brief respite or “dessert” from the gameplay, enhancing the story and overall experience but not being strictly necessary. He recognized the challenge of translating these segments into a continuous narrative that would hold its own on the big screen. He also stated that the success of cutscenes really helps the game, the story, and the overall feel. The cinematic cut needs to be a full experience, not just a supplement.
A Familiar Opening, an Uncharted Path
The Cinematic Cut begins with the game’s opening cutscene, which immediately evokes a feeling of familiarity. The cinematic direction is confident, influenced by high fantasy tropes and reminiscent of works like The Lord of the Rings. However, the absence of interactivity is immediately noticeable. Unlike the source material, viewers are passive observers. This difference in medium necessitates a new approach. This highlighted the challenge of translating the interactive experience of gaming into the passive viewing experience of cinema.
Reimagining Gameplay Through Cinematic Editing
Following the initial cutscene, the film transitions to first-person gameplay footage, but not in a typical “Let’s Play” format. Instead, the gameplay is transformed through smart, quick cuts. This creates a more cinematic flow. For example, scenes of characters moving through environments are condensed, focusing on key actions and moments. This innovative editing language aims to maintain viewer engagement, adding excitement and visual appeal to the experience. Vítek Mičke, Warhorse’s marketing specialist, played a key role in this process, lending his expertise in timing, aesthetics, and camera control to create compelling and visually stimulating scenes.
Transitions and Triumphs: A First Attempt
While the team mostly succeeded in creating cinematic tempo, some transitions were still a bit awkward. For instance, a sudden cut to a ladder being lowered felt like a typical gameplay segment ending and a cutscene beginning. These moments highlight the challenges in completely separating the “Cinematic Cut” from its gaming origins. Nevertheless, these moments are few, emphasizing the overall success of Warhorse’s innovative approach in creating something special.
Looking to the Future: Experimentation and Evolution
Pekař acknowledged the experimental nature of the project, expressing a willingness to learn from the experience and improve upon the format in future endeavors. He believed the potential for this kind of format, especially at festivals and conventions, would grow. He emphasized that its odd, but somewhat works and is not some kind of new cinematic media that will sit next to the movies. He expressed excitement about the possibilities of further collaboration between gaming and cinema.
A Bridge Between Worlds
Ultimately, the Kingdom Come: Deliverance 2 Cinematic Cut represents more than just a re-edited game. It serves as a bridge between two distinct mediums, offering a new perspective for both gamers and film enthusiasts. Pekař hoped it would encourage gamers to appreciate the aesthetics and cinematography, while allowing movie fans to understand how interactivity alters the function of films. This type of collaboration helps these two mediums create something innovative, strange, and cool.
Final Thoughts
The KVIFF team was equally impressed, highlighting storytelling has many faces and that they’re proud to have written a new chapter in the festival’s modern history in collaboration with people who share the same goals. The “Cinematic Cut” of Kingdom Come: Deliverance 2 serves as a testament to the evolving landscape of entertainment, where traditional boundaries are being blurred, and new forms of storytelling are emerging, potentially paving the way for future experimentations that bridge the gap between gaming and cinema.
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