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Movies and video games can tell the same story in different ways because they give the audience different jobs. A film presents a selected sequence of images and sounds; a game may ask the player to act, explore, or encounter the story through its rules. Adaptation therefore means reshaping a story for a medium—not simply copying its scenes. That reshaping can change viewpoint, pacing, character access, and even which events carry the story’s meaning.
Why the same story changes between a movie and a game
A story is more than its plot outline. It also depends on how information reaches an audience, what the audience is allowed to do, how long events take, and what the medium makes possible. A film can choose exactly when to show a character, a place, or a turning point. A game can put the player in a space, ask them to move through it, and use actions or rules to shape what the story feels like.
That difference is why adaptation is better understood as transformation than as a scene-by-scene transfer. The Oxford Handbook of Adaptation Studies treats videogame adaptation as a subject in its own right, while scholarship on film-to-game adaptation considers how a work’s world and narrative form can be reworked into playable experiences. A change is not automatically a betrayal of the source: the useful question is what the change lets the new medium do, and what it leaves behind.
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Movies guide attention through a fixed sequence
In a movie, viewers interpret a sequence chosen by the filmmakers. The camera, editing, sound, and performance decide what is visible and when. Viewers may infer what a character knows or feels, but they do not control the order in which the film reveals events. The same scene can be watched differently by different people, yet its audiovisual sequence remains fixed.
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Games may make action part of the experience
A game can give the player actions to perform, places to explore, or systems to learn. Those activities can affect how a player encounters story information: they might reach a location, notice an object, or experience a challenge as part of the narrative. In that sense, a game may communicate through both audiovisual scenes and the player’s activity.
Agency varies widely. Some games offer choices that change later events; others keep the main plot fixed while letting players control movement, timing, or tactics. It is inaccurate to say that every game has branching storylines. Even without branching, the experience of performing an action can differ from watching a character perform it. Work on player agency and interactivity in videogame adaptations of Hamlet examines this relationship between interaction and adaptation.
This difference creates a practical adaptation question: should a film preserve the actions a player took, or should it identify the dramatic purpose those actions served? A movie cannot reproduce a viewer’s personal route through a game. It can instead select a route, combine possibilities, or tell the relevant events from another point of view.
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A game’s perspective can restrict or shape what the player knows. The player may follow a protagonist closely, discover information while exploring, or encounter story events through sequences that do not provide a complete view of the wider world. A screen adaptation is not required to keep that exact access pattern. It can show another character’s experience, reveal an event the player did not witness, or make a previously implied part of the story explicit.
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In a PBS conversation about adapting The Last of Us, co-creator and showrunner Craig Mazin discusses the opportunities that come from shifting away from the game protagonist’s perspective and seeing events differently. The point is not that a series must reveal everything the game withholds. Rather, a screen version can use its control over viewpoint to make the story work as drama for viewers who are not controlling a character.
A perspective change has consequences. Showing a character’s experience directly can build understanding or suspense, but it can also remove the uncertainty that came from encountering events through someone else. A useful adaptation weighs the dramatic value of new access against the effect on the source’s original limitations and surprises.
Why pacing and total duration change
Games can contain more activity and take more time to experience than a feature film can accommodate. The player may spend time moving through spaces, repeating challenges, or exploring at their own pace. A movie has to make a selection from that material and shape it into a viewing sequence. An episodic series has a different opportunity: it can distribute events across installments, although it still has to decide what belongs on screen and how to keep each episode moving.
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In an Activision Blizzard newsroom conversation about movies and games, Sydney King, a senior writer in Blizzard’s Story & Franchise Development group, describes the pressure of fan expectations and limited movie runtime: “There’s just so many expectations from fans that have loved these games and spent hundreds of hours with them, and then there’s the time issue, where you can’t condense all of that into a movie.”
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Condensing is not just a matter of removing scenes. A game’s activities may be essential to the player’s experience but not function as separate dramatic events in a film. Adaptors may combine moments, remove repetition, reorder revelations, or give a brief event more screen time because it needs to carry a character or emotional turn. Those choices alter rhythm as well as length.
- Keep a moment when it carries a defining character decision, relationship change, or plot turn.
- Combine moments when several game events perform a similar dramatic job and the screen version needs a clearer or shorter sequence.
- Change the order when a different reveal or viewpoint better supports the new format’s suspense and momentum.
- Cut or compress activity when it belongs primarily to the playable experience and does not need to be shown as a separate screen event.
These are adaptation options, not a formula. Keeping more material can help preserve recognizable elements, but it can also make a film feel crowded. Removing material can create focus, but it risks losing details that matter to audiences familiar with the source.
What happens to characters, events, and plot
A screen version can retain the central premise while changing the route through it. It might keep key characters and turning points but alter how the audience learns about them, expand an event that was only briefly seen, or restructure the story for an episodic format. Conversely, a game version can draw on a film’s setting and characters without reproducing its exact plot sequence as a set of playable scenes.
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There is no universal rule for how much must stay the same. The right choices depend on what the new work is trying to preserve: a particular relationship, a central dilemma, a distinctive world, a plot outcome, or the feeling of making decisions under pressure. Two adaptations of the same source could prioritize different elements and still be coherent interpretations.
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Sony Interactive Entertainment frames The Last of Us and Gran Turismo as contrasting adaptation situations, illustrating that a strategy should respond to the source material and the screen experience being made. Its official PlayStation Productions article puts the principle this way: “It’s all about using the source material as inspiration versus as a rule book.” The statement does not mean that any change will work; it means creators can treat the source as material to interpret rather than instructions that must be followed unchanged.
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The direction of adaptation matters. A movie can deliver its story through a fixed sequence, but a game needs a playable form. Simply reproducing the film’s plot as scenes may not give the player meaningful activities between them. A game adaptation can instead use the film’s world, characters, themes, or narrative structure as starting points for interaction.
A Bond University research record on film-to-game adaptation discusses examples including GoldenEye 007, Blade Runner, The Chronicles of Riddick: Escape from Butcher Bay, and LEGO adaptations. Its framing highlights concepts such as worldbuilding, seriality, narrative form, and interactivation—the way a player’s participation becomes part of the work. These examples are useful not because they establish one recipe, but because they show that adaptation can involve reworking a source’s playable potential rather than merely staging its scenes.
For a game based on a film, the key design question is what the player will do that makes sense within the adapted work. The answer might involve navigating a world, taking part in events, or encountering a story through interaction. A game that uses familiar names and images but has no meaningful relationship to the source’s world or themes may feel disconnected; one that copies every scene may leave little room for play. Adaptors have to balance recognition with activities suited to the medium.
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A practical way to compare two adaptations
When comparing a movie and a game that share a story, start by asking what each version is trying to make its audience experience. The following questions separate medium-specific choices from a simple tally of retained scenes.
- Who controls the sequence? In the film, identify how the edit directs attention. In the game, ask whether the player chooses a route, controls actions within a fixed plot, or encounters story through exploration.
- What can the audience know? Compare whose perspective the work follows, what is withheld, and whether the adaptation gives viewers access to events or characters the player did not see.
- How does time work? Notice what the film compresses or expands and how a game uses player-paced activity. For a series, consider how the episodic structure redistributes material.
- Which story elements remain central? Look beyond matching scenes. Compare the relationships, dilemmas, world details, and turning points each version chooses to preserve.
- Where does the story live? In a film, meaning may be carried through performances, editing, images, and sound. In a game, it may also be carried through rules, actions, and exploration.
- What does each change gain and give up? A change can improve clarity or fit for one medium while reducing ambiguity, player choice, or a familiar detail from the source. Evaluate both sides rather than treating similarity as the only measure.
This method also helps explain why “faithful” and “successful” are not synonyms. A close reproduction may preserve recognizable events yet fail to use the new medium well. A substantial reworking may preserve a source’s central concerns while changing its structure. The more useful judgment is whether the choices form a coherent experience and whether their gains justify what they leave out.
Why adaptation is not a scene-matching exercise
A scene can have different functions in different media. In a game, it may be a pause between stretches of player activity or a reward for reaching a place. In a film, it may need to establish information quickly, deepen a relationship, or prepare a later reveal. The same event can therefore require a different length, viewpoint, or form—or be replaced by another event that serves a similar purpose.
That is why a useful comparison distinguishes plot content from storytelling method. Two versions may share a major event but create different audience experiences around it. Or they may change the event while retaining the underlying conflict. Film-game adaptation scholarship, including The Art of Adaptation in Film and Video Games, offers concepts such as interactivity and transmediality for thinking about those relationships across media.
When assessing a specific adaptation, ask what the source’s most important effects are and which parts of its original form create them. Then examine how the new version pursues comparable effects with its own tools. A movie may turn a player’s discovery into a carefully timed reveal; a game may turn a film’s setting into a place the audience can navigate. Neither is a literal transfer, and neither needs to be.
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