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What are some game stories that would lose most of their geist when adapted/if someone adapts them to another format? I don't mean because of bad writing/directing/etc., but because the fundamental nature of the game requires it to be a game. MGS2 is a common given example of something that would only really work as a video game. Its narrative is firmly rooted in how video games function as a medium; it plays with player's perception of their control over reality in games, among other things.

Hotline Miami, I suppose

It's interesting, early on, this would apply to almost any game because there was no cutscenes, dialog, or even story in games. I don't you're talking about games like Centipede or Super Mario Bros., so I think this only really applies to games with a meta-narrative.

Ill just post my opinion .. . Any game is adaptable. Like a book or a comic book, the quality will vary. I dont think you need me to say that it all depends on the director and the writer (s) and maybe the producer. Surely there are good adaptations now. Metal Gear isnt too complex for cinema. No more than a book is.

>>1670 I don't think you understood the point OP was making. That said, I hope that the MGS movie plays around with how we experience films instead of borrowing too heavily from games.

>>1671 I guess MG is like The Final Programme, a very difficult property to adapt, even considering it was constructed from cinematic tropes. Final Programme was a huge bomb, but ever since The Naked Lunch I believe anything can make a great movie in the hands of a great director.

NieR Automata. The game was designed for multiple playthroughs and being in control of the characters make you fee attached in ways a book can't invest time on. Actually I'm going through the book right now and it's pretty meh as an adaptation.

>>1671 Maybe i missed his point. Personally I dont think the subtext of the MG games specifically has to be thrown out when the script is written. If op is saying that the odds of the series signature subtext being lost is high then he might be right. It's a game about X is going to be difficult to retain when three people including a writer and a bunch of studio bosses are going to have their own view of what the adaptation should be and look like. Would even final fantasy 8 adapt well? I dont think so when you'd have to convince someone that JAG meets Lord of the Rings can be a successful film project. Ill let you take it from here.

A game that fits this that I have always praised and enjoyed would be Killer7.

>>1675 Pretty much all Suda games are like that. I think Flower Sun and Rain best exemplifies the concept, though. It's a video game that makes you think about the purpose of video games. It does that by being as irritating as possible - the puzzles are pretty braindead easy (except when they LIE TO YOU), but the majority of game is spent slowly running from place to place doing annoying errands while jazz standards play.

>>1673 Came here to say this. Especially with the multiple endings and the end with all the messages. Also any games that have choices really. I suppose you could argue that ttrpgs and 2nd person adventure books usually can capture this though. In addition to that though, Doki Doki Literature club really takes advantage of the fact that it's a computer game. Actually unsettled me for a moment when it said my real name.

Dark Souls. It requires repeated death and resurrection to serve as a metaphor of Samsara.

>>1763 re:zero but stripped isekai elements. yes i played ds way too long, and watched rezero

no one mentioned silent hill 2 yet? damn

any western rpg really

I know the Dungeons and Dragons movie was utter tosh. I don't think the producers really understood that D&D is a setting, not a story. But I also firmly believe that given a filmmaker with enough vision, anything is possible. I would have thought The Naked Lunch was unfilmable, but David Lynch managed, and created a powerful narrative. D&D failed as a movie because they gave the license to monkeys. Metal Gear suffers from the same strange problem as The Final Programme when it comes to adaptation, in that although it is composed of cinematic tropes, it doesn't quite work as a movie. But in the hands of a skilled director and screenplay writer, who have familiarity with and empathy for the source material, anything can be translated into the language of film.

git gud: https://proofwiki.org/wiki/Definition:Symbol >>1674 it's not about difficulty of making a good adaptation to ''x'', it's about ''possibility'' for a good adaptation to ''x'' to exist. what's the best adaptation to ''x''? how does it compare to the source? if the optimum of the target is worse than the source, don't apply adaptation. >>1670 >Any game is adaptable of course, there is also the question of whether it's even possible for ''an'' adaptation to ''x'' to exist. there may be some aspects of it which are always lost in the target. >>1673 >multiple playthroughs multiple readthroughs. many great noninteractives change with each readthrough. >being in control of the characters [can] make you fee[l] attached in ways a book can't git gud: imagination. noninteractivity neither precludes nor hinders anyone's control of any part of it. >>1762 >multiple endings can exist in noninteractive works >any games that have choices you know a game that doesn't have choices? didn't think so. git gud: https://proofwiki.org/wiki/Definition:Language >>1779 >anything can be translated into the language of film what is this 'language of film' i keep hearing so much about? what is it's alphabet? what are it's terms? which terms have which meanings in this language? or is this 'language' akin to Mathematics being the 'language' of science?, where they don't mean language, but a way to organize thought. using one word that has a perfectly respectable meaning to refer to something else causes many problems. >>1763 >requires repeated death and resurrection to serve as a metaphor of Samsara. and you can't have repeated death and resurrection in non-interactive media because..? likewise: you can't have a metaphor of Samsara without repeated death and resurrection because..? seen you Paul Thomas Anderson's 1999 film ''Magnolia''? >>1675 why? the world is too large for it to be effective to go off of bald facts, and bald facts hardly ever interest anyone with any sort of taste, anyway. come back when you can explain yourself.

>>1803 >what is this 'language of film' i keep hearing so much about? what is it's alphabet? what are it's terms? which terms have which meanings in this language? it deals more with the artistic expression of action and movement. In art, you can express many shades of color and tone, but the act of motion means that the scene is forever trapped in the moment. Likewise, with text the imagery is left to the imagination of the reader, but with film you can express both the color of the producers imagination with the ability to convey a message exactly as he intended without the ambiguity of verbal context and connotation.

I think that any game can more or less be transcribed, and yet not. Most games are, traditionally speaking, completely dependent on their medium, but it really depends on what you consider the ''essence'' or ''geist'' of the game - Is Super Mario Bros. what it is because of something not specific to VIDEO GAMES, or is it precisely that which it is because of the characteristics specific to games that it partakes in? In simpler terms, does Mario feel like Mario because of the interaction, motion, momentum, or is it the sensory perceptions, sound, sight, or is it the abstract constructions, story, themes, plots? It's an interesting line to draw, anyway. I don't think there is a definitive boundary to be seen, because the essence of things are debatable.

I think a film can take place in any game setting. Reproducing a game's story beat for beat in a film would be a lot harder. Lately I've been playing a lot of Satellite Reign (it's ruining my life) and the 'story' of that game is almost completely nonexistant. The entire game is an open-ended puzzle box. Sure you can commit a series of armed robberies to get better gear. Make shady deals in order to get credentuals needed to get into the rich parts of the city. In the other hand, you could just blast or sneak through the checkpoints and head straight for the dracogenics tower. Maybe you just focus on getting credentials and dont worry so much about gear, maybe you completely forget the main mission and just keep breaking in random places. Each approach tells a different story. One thing I love about Satellite Reign is that the rewards are the same no matter how you play. Because of this, all potential stories seem like valid Satellite Reign canon to me. Adapting to film would mean that the viewers would not be able to make their own stories anymore and so part of the experience would be lost.

>>1673 Was gonna say this. While it can be accomplished in other mediums Nier seems to really try to make the most out of it

>>1662 Kitty Horrorshow's 'Anatomy' would not adapt to film. There's a lot of emotional woo-woo behind my opinion; the most concrete reason I have is the point-of-view. In 'Anatomy' I play as some thing. It's never explained; based on the height I assume I'm a person. The game is completely pitch black except for a faint glow around the player that illuminates the environment in the immediate vicinity. This kind of point-of-view could be done in film. A very weird film, but a film nonetheless. The limitations of the film medium become obvious when I consider that, in a game, the player is allowed to fill this perspective with their own personality. When I was told that the kitchen was like a stomach, digesting people, I decided to stand outside the kitchen whenever the tapes were playing, because to me, standing in a vein or on a spine seems safer than standing in a stomach. When exploring the house, I would just peek into rooms rather than walking all the way inside, because I was afraid that the house would do horrible things to me if I ever went into any rooms. I would constantly check the front and back doors to see if the house would let me leave. I'm sure other people came up with different strategies to cope in their house. This all adds up in the game's climax when it finally becomes impossible to avoid confronting the house's mysteries. It's like the game personally violated ME, not some random character. Films can depict dangerous worlds. Games allow us to project our egos into these worlds. Even if a game just lets me walk around looking at a bunch of simple abstract polygons, that game world can seem more real than a film world because the player character is still "me", just a version of "me" with severely reduced functionality.