[CRITICAL] VIRTUAL REVOLUTION

VIRTUAL REVOLUTION describes a near-future where all of humanity has always played in persistent worlds. Upsetting totally the social relations and economic, this new deal is based on a fragile balance : the connected receive a salary in the universal allowing them to pay their online subscription to corporations, who in turn pay taxes to States that pay this wage. Nash (Mike Dopud) is a private detective tasked to track down terrorists who want to disconnect from the world population by all means.

VIRTUAL REVOLUTION passes, therefore, of the universe virtual reality, since the investigation is ongoing at the intersection of all these real. If the artistic direction of Paris 2047 is absolutely superb (3/4 of the movie), virtual environments often fish by a systematic use of digital effects quite nags. While the user of these universes persistent is not supposed to be able to tell the difference between reality and this universe, the viewer sees him well-the inlays are on the green background. There can be no doubt, this problem is attributable in large part to lack of funding. The director Guy-Roger Duvert is also the main producer and has been able to rely mostly on private funding in order to materialize his idea. However, without question to compare the VIRTUAL REVOLUTION with one for a hollywood type Ultimate Game, you can’t help but be disappointed in finding that the translation of the virtual worlds not only by the grammar of the video game. In addition, the technological revolutions to come will, perhaps, beyond the violence, directed by Guy-Roger Duvert. Certainly, the vast majority of AAA games are a little stingy in hemoglobin, but they also propose the exploration of moral dilemmas (the Bioshock series for example), the reconstruction of historical periods (Assasin”s creed), puzzle solving (Tomb Raider), infiltration (Deus Ex, Dishonored), etc., Gold, for the aspect of gameplay, most of the references cited in , the VIRTUAL REVOLUTION may stop in to Everquest and his heirs on one side (MMORPG) and Unreal Tournament (Shoot’em up). Of course, it would be impossible to condense into a single movie the entire palette of the video game. But as the trial of intent the most common to video games is nestled in the debate about violence, we would have preferred a spectrum of sensations are a little wider.

In another register, the film Creative Control chosen him to evoke the layer digital that we promise to add real style glasses google glass. This kind of augmented reality allows to explore the implications on our daily lives and our privacy. In the VIRTUAL REVOLUTION , on the contrary, the back-and-forth between real and fiction raised are used primarily to serve the plot. The about theme, therefore, is supported by the voice-off of Nash. The film invites well to reflect on the implications of this technology, but via a speech outside that has no influence on the staging. Guy-Roger Duvert is no less generous with his material, and his film should appeal to gamers and gamers. By contrast, moviegoers will be disappointed by some choices of scenarios and set the scene.

Side scenario, the weaknesses are also due to the choice of the kind and the extent of the universe is compressed to 1: 30. For a viewer, a dialog is a dialog. But for someone a little aware of the construction of the writing, we can detect quickly which is the exposure of the characters, places, intrigues, and which is a better understanding of the intimate characters (also called characterization). However, the dialogues of the VIRTUAL REVOLUTION are almost entirely dedicated to the exhibition of the rules of the universe interconnected. It therefore remains little space to deepen the characters.

This problem is quite recurrent in SF, especially if the reality of the film is very different from that of the spectators, this means a lot, “explain.” This leads to the problem of empathy. How worrying about the life or death of a character who knows almost nothing ? By “know”, one envisages not only its past, but also its behavior when faced with choices or difficult situations. Where VIRTUAL REVOLUTION is even more handicapped than another film of SF is that by multiplying the virtual world, the incarnation of the hero changes. By choosing to represent the character through different avatars, Guy-Roger Duvert delays the identification of the spectator to the story. To overcome these difficulties, the director chooses to model his characters on archetypes and pre-existing : Nash is a sort of Deckard (Blade Runner), the agent of Interpol is a carbon copy of agent Smith in the Matrix (“is not this Mr. Anderson ?”) while the hacker who helps Nash is decked out the characteristics of the side kick of service (jokes and constant anxiety).

“Independent Production generous toward his material, the VIRTUAL REVOLUTION will appeal to gamers and gamers but risk of spread the moviegoers”

Side staging, the decorations inside are always lit very subtly. The composition of a few frames is quite remarkable. However, one can’t help but see behind each one of the aesthetic choices a big influence either video-playful (the reboot of Deus Ex for the apartment for Nash + a little bit of Max Payne 3) or film (Blade Runner for the head office of the corporation). For some, this will be a choice of post-modern, consistent with the description of a kind of multiverse real/virtual. For others, it is a side step too large compared to the history of Cinema and see these loans as a lack of personality.

Until now we defined a writer by HIS vision, and not by the collage of visions and pre-existing. May-be that Guy-Roger Duvert initiates a kind of movement mash-up, recycling of cinematographic works or works in the video game without worrying about the integrity of the original, a bit like a Warhol gamer. Is entrusted to another of the proceedings thereat, the show has been on our side (more conservative) rather unsettling. But with talented actors, a few frames stylized and a light atmosphere SF harmonious, the VIRTUAL REVOLUTION is a pleasant entertainment. It is all the same a little frustrated by all the limitations of this first film, and it is hoped that Guy-Roger Duvert will be franked to the next.

Thomas Coispel

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