These sorts of academic inquiries have looked, for example, at the ways in which cinematic technologies and techniques have influenced the medium of video games itself (and vice versa), and how particular generic, narrative, and/or stylistic conventions are carried between them, shaped and altered by their disseminations. Scholarship on what is frequently referred to as the “convergence” between video games and cinema, the “interfaces” or “intersections” between them, has been growing since the first edited collection was published in the early 2000s (King and Krzywinska, 2002 Papazian and Sommers, 2013). Noire (2011) encouraged identification of their relative cinematic influences and/or qualities. Through discourse analysis of selected Rockstar-authored promotion and other paratextual sites of information, it illustrates the ways in which the promotion of Max Payne 3 (2012), Red Dead Redemption (2010), and L.A.

Referring to the relationship between video games and cinema, and tendencies to evaluate video games according to their “cinematic” qualities, it demonstrates Rockstar’s attempt to have an active role in coding their products as such. Considering promotional materials as a source of information themselves, this article tracks how Rockstar Games position titles through cinema references.

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