Historically, the relationship between video games and cinema was marked by adaptations that did not always please enthusiasts. In the past, films were adapted into games to boost releases, and game characters appeared in cinema productions that often failed to capture their special essence.
This landscape has undergone a significant change. Titles such as Super Mario Bros. Movie, The Last of Us, Arcane, Fallout, and Minecraft Movie prove that video games have established themselves as one of the primary sources of intellectual property (IP) for cinema and streaming platforms. The focus has shifted from merely adaptation to exploring universes capable of attracting audiences across various formats.
Commercial success reinforces this interest. Super Mario Bros. Movie surpassed the $1.3 billion global box office mark, and Minecraft Movie earned around $960 million, placing these works among the biggest recent Hollywood successes.
However, there is a deeper question: why do some IPs manage to transition across different media, while others do not achieve the expected success?
One of the central reasons for this transformation lies in generational change. People who grew up playing video games are now also consumers of cinema and streaming, work in the audiovisual industry, and often participate in decisions about which projects receive investment. Video games have stopped being perceived solely as children's entertainment, assuming a prominent role in popular culture.
For film studios and streaming platforms, this represents a clear market opportunity. An established game franchise brings with it recognizable characters, defined universes, and, crucially, an engaged fan base. While this does not guarantee success, it reduces the uncertainty inherent in presenting a completely new story to the public.
Another relevant aspect is the advancement of production technologies. Digital tools, animation, and visual effects have made it possible to represent worlds that would previously have been excessively costly or complex to replicate.
However, it is vital to distinguish between adapting a game and merely using its brand for promotional purposes. When a game IP migrates to audiovisual media, it carries with it a community, a visual identity, and a pre-existing universe for the audience. Conversely, cinema and streaming offer something of great value to games: the chance to reach individuals who have never handled a controller.
It is possible that someone discovers The Last of Us through the HBO series before knowing the Naughty Dog games. Similarly, a child might watch the Mario movie without having played any Nintendo titles. This movement establishes a virtuous cycle of intellectual property appreciation: the game strengthens the audiovisual production, and this, in turn, expands brand recognition, potentially generating interest in the games.
This phenomenon is known as transmedia, where an IP develops across multiple media, leveraging the specificities of each one.
There is a frequently neglected challenge: each medium has its own language. Based on its trajectory in the gaming industry, the author described two contrasting projects. In Swan Princess Hidden Tales, based on The Fairytale Princess franchise, the challenge was converting a cinema-created IP into an interactive experience. It was not enough to replicate scenarios and characters; one had to understand the franchise's audience, respect its identity, and create mechanics coherent with that universe.
Years later, the inverse process was experienced with Starlit Toons, an animated series inspired by the Starlit game universe. In the games, the characters already possessed visual identity, personality, and functions linked to game mechanics. However, an animated series demands distinct elements: narrative, conflicts, interpersonal relationships, and plot development.
A character might be effective in a game simply by possessing a fun ability, but this is insufficient on television. They must be capable of sustaining a story and captivating the viewer. These experiences reinforced the notion that adapting an IP does not mean copying the original product, but rather preserving its essence while building an experience appropriate for the new medium.
In the industry, there is the concept of 'deck appeal,' which refers to an IP's ability to spark interest in potential partners, investors, or producers. Although there is no single formula, certain components help identify a brand's potential in different formats.
The first is the presence of easily recognizable characters or symbols, such as Mario's silhouette or Pikachu, recognizable even by those who have never played Pokémon. The second is the presentation of a world with its own rules, like the visual and functional logic of the Minecraft universe. The third is the central action, the IP's 'verb': jumping in Mario, catching and training in Pokémon, or building and exploring in Minecraft. The fourth element is emotional identity, as the IP must evoke something recognizable, whether humor, adventure, nostalgia, or suspense. Finally, there is the capacity for expansion, meaning whether the universe allows for new stories, products, or experiences without losing its identity.
Minecraft serves as a notable example. Its universe, composed essentially of blocks, does not require a mandatory linear narrative, and its protagonist does not have a rigidly defined personality. Despite this, Minecraft has become a highly recognized brand in entertainment. The secret lies in the combination of a distinct visual identity, a world with its own rules, and a powerful central action: building.
LEGO follows a similar path. Its initial product is a building toy, but its versatility has allowed for the creation of games, movies, and series representing almost any universe. Transformers and Cars illustrate another path: objects that acquire personality, emotions, and conflicts, transforming into characters capable of sustaining narratives.
Tetris presents a unique case. Being essentially a pure mechanic, without traditional characters or narrative universe, its 2023 Apple TV film focused on the history behind the game's commercialization, rather than turning falling blocks into adventures. This proves that an IP does not need to start with a grand story to reach audiovisual media, but to do so, a character is essential for telling a narrative.
Despite the sector's enthusiasm, IP adaptation remains a risky endeavor. A common mistake is assuming that mere brand recognition guarantees success. Using famous characters without understanding what made them popular can lead to productions unpleasant for both original fans and the new audience.
Ignoring the fan community is another problem. Followers have expectations regarding characters, worlds, and behaviors. Although an adaptation does not need to be faithful to every detail, any changes must be logically consistent with the proposal.
There are also commercial obstacles, such as licensing rights, exclusivity, platforms, and timelines, which require a well-defined structure. A poorly planned strategy can prevent an IP from capitalizing on crucial expansion opportunities.
For independent developers, especially in Brazil, this discussion is relevant. Not every studio should turn its game into a TV series, but considering the IP's identity, characters, and universe from the beginning can increase its future commercial chances. A game can be the starting point for a much larger brand.
For a long time, developers focused primarily on mechanics, platforms, and business models. However, the growing convergence between games, cinema, and streaming introduces a new dimension: a game's value can transcend the game itself. This does not imply that every project must be a transmedia franchise; many of the best games thrive by exploring unique characteristics that other media cannot replicate.
The essential thing is to understand that a robust IP can open doors in various markets, provided there is a cohesive expansion strategy. Perhaps the most important question for anyone developing a game today is not just about sales potential, but whether, removing the gameplay, there remains a universe, a character, or an idea that people would want to follow. This answer defines whether one is creating just a game or the next great entertainment intellectual property.
