This article’s main idea is to extend the concept of the cinegame and put it into a broader medial context. As the example of 4A Game’s first-person shooter Metro 2033 (2010) demonstrates, film-computer game relationships prove to be essential intermedial connections, but they are by far not the only ones to be found. Besides the obvious filmic influences, interferences with literature and with other games shape the Metro 2033 shooter experience in a process I want to call ekranizatsiia – ‘screenisation’. Firstly, Glukhovskii’s novel Metro 2033 (2005) provides a fantastic universe which favours the emergence of convergent media such as the cinegame. Secondly, the process of ekranizatsiia uses filmic strategies in order to visualize the text. Thirdly, genre conventions of first-person shooters are applied to the result in order to add interaction. Thus, the media film, computer game and literature are equally involved in putting the Metro 2033 shooter on the screen.

Language of contribution: English

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