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Steven Lisberger's groundbreaking 1982 picture Tron largely occurs within the imaginary world inside video games, where programs, depicted as people in glowing outfits, battle on the digital arena in deadly contests. These entities are brutally killed (or “derezzed”) in the Disc Arena and smashed by energy barriers in light-cycle battles. The sequel director's 2010 continuation Tron: Legacy returns inside the virtual domain for more vehicle combat and additional conflict on the virtual world.

Joachim Rønning's Legacy continuation Tron: Ares adopts a slightly lesser interactive style. In the movie, programs still fight each other for endurance on the virtual arena, but mostly in high-stakes struggles over confidential information, serving as agents for their corporate makers. Protection software and intrusion agents confront on ENCOM servers, and in the real world, Recognizers and light cycles transferred from the virtual world operate as they do in the simulated universe.

The soldier software Ares (the star) is an additional new innovation: a super-soldier who can be repeatedly 3D reprinted to fight wars in our world. But would the human star have the actual talents to make it if he was pulled into one of the virtual world's contests? In a current media gathering, actors and filmmakers of Tron: Ares were questioned what games they would be most likely to survive in. We have their responses — but we have our own judgments about their skills to persist inside virtual worlds.

The Star

Part: In Tron: Ares, the actress plays the CEO, the CEO of the company, who is preoccupied from her corporate responsibilities as she seeks to retrieve the “permanence code” assumed to be left behind by Kevin Flynn (the actor).

The virtual world Greta Lee feels she could make it through: “My kids are very into Minecraft,” she explains. “I would never want them to know this, but [Minecraft] is so cool, the realms that they construct. I believe I would want to enter one of the worlds that they've created. My younger child has built this one with animals — it's just packed with feathered friends, because he adores parrots.”

The actress's probability of endurance: Ninety percent. If she simply hangs out with her kids’ parrots, she's safe. But it's unclear whether she knows how to avoid or contend with a hostile mob.

The Star

Character: Peters embodies the antagonist, the head of competing company the organization and descendant of the founder (the star) from the first Tron.

The game Peters thinks he could endure in: “I would absolutely be defeated in the [Disc Arena],” he remarked. “I'd go into BioShock.” Clarifying that answer to co-star the star, he says, “It's such a great video game, it’s the finest. BioShock, Fallout 3 and 4, amazing ruined worlds in the franchise, and the game is an hidden, decrepit nightmare.” Was he comprehend the inquiry? Unknown.

Evan Peters' chances of endurance: In BioShock? Five percent, like any other normal human's odds in Rapture. In each post-apocalyptic series? Ten percent, solely based on his appeal score.

The Actress

Character: the actress embodies Elisabeth Dillinger, mother to the character and daughter to the founder. She’s the ex leader of the company, and a more level-headed director than Julian.

The virtual world the actress thinks she could make it through: “Pong,” said the actress, regardless of her obvious knowledge with the title Myst and her supporting role in the 1998's participatory digital disc The X-Files Game. “That is as advanced as I could manage. It might take so a while for the [ball] to come that I could duck out of the way quickly before it came to hit me in the head.”

Anderson’s chances of endurance: An even chance, based on the basic character of the game and whether getting struck by the pixel, or not returning the pixel back to the opponent, would be lethal. Furthermore, it’s really gloomy in Pong — could she fall off the stage to her death? What does the dark abyss of the title do to a person?

The Director

Job: the director is the director of Tron: Ares. He furthermore directed Pirates of the Caribbean: Dead Men Tell No Tales and Maleficent: Mistress of Evil.

The virtual world the director thinks he could endure in: Tomb Raider. “I was a youngster of the ’80s, so I was fond of the Commodore 64 and the gaming device, but the first title that influenced me was the first ever Tomb Raider on the console,” Rønning says. “Since I'm a film enthusiast — it was the original game that was so captivating, it was interactive. I doubt that's the environment I would truly desire to be in, but that was my original amazing experience, at least.”

Joachim Rønning's chances of success: A low chance. If he was transported into a Lara Croft game and had to face the animals and {booby traps