Hollywood found out how to adapt video games. I wish it wasn't.

How do you transform a video game via zombies into a television program? If you make “The Last of Us”, HBOS EMMY-price-crowned post-apocalypse drama, you follow a sober approach and treat the zombie-killing act as an opportunity to articulate profound things about the human condition. They remind the viewers that it is not the spectacle of the end of the world, but the resilience of the survivors when they stick to their tattered humanity. And so “The Last of Us” like the Playstation game on which it is based becomes a dark show with big topics: the power of hope, the senselessness of the revenge, the terrible things we will do to survive.

But if you made “House of the Dead” based on the Arcade game from the 1990s, you have made weapons flaming. This 2003 film from the notoriously indecent German director Uwe Boll contained practically no coherent ideas, and his main motivation seemed to be to put so many naked breasts, corpse and Nu-Metal songs into a film that Motion Picture Association of America would allow. The game on which it was based was not exactly a paragon of the artistic merit. But even thanks to the rough standards of the source material, Boll's film with its constant Slo-Mo-camera movements in the style of “Matrix”, felt particularly tasteless.

Everything I know about films and television tells me that “The Last of Us” is the superior adaptation is subtle instead of wide, ripe and childish, which deals with real feelings instead of lizard brain titillations. And yet every time I look at it, a recess of my soul longs for the bright, tool crazy of things like “House of the Dead”. “The Last of Us” is a properly touching story of trauma and grief, but it feels as if everything Lately has been a properly touching story of trauma and grief. When was the last time you played a film and saw a woman's eye-motion recordings in a star-swinging banner who dodges a zombie with a shelter?

It is not the trasiveness itself that I am nostalgic for. What made the “House of the Dead” charming was his PeculiaritiesAnd idiosyncratic is exactly what the current generation of video game adjustments has achieved. Hollywood has learned how to create successful, respectable game adjustments by putting them in proven formulas such as comic blockbusters and prestige TVs. You know what to expect: either a serious drama without a no-nonsense, such as “The Last of Us” or “The Witcher” or a disrespectful, clinging comedy full of jokes and fan service, as with “The Super Mario Bros. Movie”, “Sonic the Hedgehog” or “A Minecraft Movie”. Adjustment is a solved problem.