Tell Us Dammit: What Games Would Make Good Movies?

We're going to get a first look at the Assassin's Creed movie at some point today. It might even be out by the time you read this post.

My question: what other video game series do you think would work well as a movie?

We have Warcraft coming out soon. I have high expectations for that. The presence of Michael Fassbender has me hoping that Assassin's Creed isn't complete trash. What else would work?

Me? I'm drawing a blank. I feel as though most games have pretty average writing.

But in 2016 one game jumped out at me and that game was Oxenfree. Oxenfree is one of a few games that has great writing. Not just for a video game, just good period. If someone made an Oxenfree TV show or an Oxenfree movie, I would watch it. 100%.


    I wouldn't mind seeing a Watchdogs movie and i always thought GTA could probably work.

      They've made 3 great GTA movies already. Crank, Crank 2, Rampage.

    Masseffect & Masseffect 2 hands down plz.

      Just leaving the third one out? :P

        What third one?

          Its coming out later this year isnt it?

        3 was the best of the series, so it'll get 2 movies. ;)

        Near as I can figure, the only people who didn't like it are the ones in the 'our choices didn't matter!' crowd who seemed to not realize that the entire game was an ending referencing those choices... There were of course those who didn't like it because they wanted Shepard to ride off into the sunset as space emperor to sire litters of turian/quarian-human hybrids, or defeat the reapers in an utterly unwinnable conventional war, because... yay, biological organism pluck? (Despite being told publicly, early, repeatedly, that this was a definitive end to Shep's story, and Shep would not be coming back. What the fuck did they THINK that meant other than the death/unrecognizable-evolution of the character?)

        The existence of 'the starchild' cops a lot of unreasonable flak, too. It pretty much it seems that criticism comes from the same place as criticism of The Matrix movies' 'Architect', who fulfilled a nearly-identical role for nearly-identical reasons. You've gotta wonder at why people don't appreciate the absolutely reasonable logic of that scenario. An endless cycle of growth, death, rebirth, and growth again, curated by the unfathomably powerful synthetics, who have become very efficient at it and control vast resources to make it a near-certainty, with the cycle only broken by that one - unlikely - instance where a human got a little further than the others, made a different choice.

        Plus I've heard there was some whining from people who thought they were forced into the Multi-Player to get the required war score to get the 'good' ending, but that's pretty much just looking for something to complain about that didn't actually affect anyone. The leeway on that was incredibly lax and you could very easily get the required score without touching the multi at all, or even really trying. You'd basically have to have ignored all the side-quests as well, at which point they were really just complaining that they had to play the game. The MP readiness buff was something just meant to be used an optional supplement if you needed it.

          I didn't like it because of the lazy writing (Guren Lagenn rip off).

          "The best way to stop robots killing people is to build robots that endlessly kill people"

          Starchild's bullshit about being SMRT and knowing better than anyone despite the age of its programming would be a lot more convincing if it made some actual sense.

            Well, actually, it was more along the lines of, "All organics die eventually, we prefer to curate this process carefully and we preserve the best of what springs up in each cycle; once organics invent synthetic life that may possibly be less benevolent than us and/or destroy the precious anomaly that is this life-filled galaxy, we nip it in the bud and reset everything for new life to take its turn on the galactic stage." From a longer, external view that doesn't have irrational emotional attachment to a specific little piece of an individual cycle amongst many, it makes perfect sense.

            The reapers held a very parochial view of 'life' as a universal anomaly in itself, to be tended to, pruned and trimmed and never kept static. Old makes way for new over and over and variety trumps calcification, under the watchful eye of the synthetic consciousness that appreciates organic life's uniqueness.

            The reapers didn't give a shit about humans or turians or salarians specifically 'being killed by robots'. They regarded those the way you regard your individual skin cells, which grow, die, and then fall away in flakes, to be replaced. Their concern was for the greater concept of organic life and that life always being able to have a place in the galaxy. The risk they protected against was always that some other form of synthetic life might - in its infancy - utterly and irreversibly alter the galaxy to preclude the miracle of organic life.

            A very real risk, which always signaled the end of previous cycles - predictive models projected exactly what they feared, so they stepped in to curate and protect the concept of organic life itself. The Cycle of the Shepard-Commander is the one where the organic-synthetic relationship was different from prior cycles. Different enough that the reapers considered that their projected 'synthetic doom' might not actually occur, for the first time ever.

              I distinctly remember "the Creators knew organics and synthetics would always end up in conflict, so a change had to be enforced" being the big opening point of his babbling. Then came the totally not an A, B or C option ending, because BW said how that would be a real shitty way to close out a series all about choice.

              All so people would know Shepard wouldn't be back... in a game set in a distant galaxy, decades later.

              "predictive models projected exactly what they feared, so they stepped in to curate and protect the concept of organic life itself"
              The problem is that the Reapers "protect organic life" by destroying it and turning it into an artificial/synthetic lifeform, thus actually fulfilling their own model that they are supposedly trying to prevent.

              Furthermore, they don't actually give a damn about protecting organic life, because they clearly don't actually protect all organic lifeforms - just the ones they think are "worthy" of being turned into a Reaper. The only lifeform they were "protecting" in this cycle was humans. All the other races in the entire galaxy were not going to get their own Reaper but were going to be turned into Reaper footsoldiers which *at best* would be thrown at the lifeforms of the next cycle should they survive until that time.

              Finally, their "solution" to "the miracle of organic life" is again to get rid of organic life by effectively turning it into synthetic life - a synthetic/organic hybrid... through... space magic? Seriously, the green ending makes absolutely no sense whatsoever and for a series mostly trying to ground its reality in science, jumps the shark in a colossal way. The green ending comes across as an attempt to have a "rainbows and unicorns" happy ending, but is absolutely ridiculous, not to mention pretty much illogical and at odds with its entire reasoning.

              Starchild has deduced that destroying all organic life is the only reasonable option, but somehow decides to give a human a chance because ... arbitrary plot reasons. It also decides to introduce a new choice because "you came further than anyone before" - which seems at odds with the fact that the lifeforms during the Prothean period appear to have been significantly more advanced than humans. Even with this point aside, why does this suddenly allow Starchild to perform an entirely new series of calculations and modelling that it couldn't do before and allow the "green" option to occur?

              As far as I can tell, none of this makes any sense whatsoever, and the inconsistencies and logical fallacies present in the Starchild's argument just undermine and destroy the entire concept of the ending.

          I firmly agree that the entire game was the end of the series, but the final 15 minutes was garbage. They wrote themselves into a corner then tried to dig themselves out with an entirely different type of story. They traded one deus ex machina for another and hoped we wouldn't notice because of how deep the poorly written philosophical aspects were.
          Even though Mass Effect was riddled with synthetic intelligence and stories of the clashes between those intelligences and organic life the subject as it applies to the final 15 minutes was never really touched on. Even ME3 doesn't do much with the idea until the very end. Legion and Joker's plotlines touch on the keywords but they don't really connect to the Reapers.
          It's like if Lord of the Rings spent the entire three books claiming the ring couldn't be destroyed, and then at the last minute Frodo reversed the polarity matrix to create a negative ion wave which destroys the ring. That ending might work in a movie that is built around that stuff but it's not right for that story.

          It didn't help that they kicked off that portion of the script with non-sense that made everything that came after it a little uncomfortable. The epic struggle to reach the portal was immediately undermined by two old guys showing up like 'oh yeah, we decided to tag along too'. The guy you can't help but team up with and the guy you can't help but fight against are very openly shoehorned in there to tug at your soul. I'm no great writer, I'm not even a writer, but wouldn't it make sense to have Paragon Shep and Renegade Shep show up for that debate instead? A little isolation to play with the games themes of teamwork and a little reflection on your past actions to prepare you for future decisions.
          It's subtle but Mass Effect 3 has a problem with taking control of the character from the player. It works well in some instances making the war feel a little overwhelming when it steals control over event outcomes, but then you get to the end where the game insists that a character you saw for 30 seconds in the intro has this deep significance to Shep. What's more or less God takes the form of that character and offers to end it. It would have felt like more of a choice if it were just a cut scene where you turn it on, give one of those Shep speeches and then die as the device is activated.
          The final 15 minutes abandons all the themes of the previous 2.99 games but not in an appropriate way. It doesn't flip anything or add another layer, it just cuts the rest off and starts it's own thing.

          I think of it like Dark Knight Rises. There are more than a few parts that aren't even close to awful, I thought Galactic Readiness was a brilliant way of making a player question their choices beyond 'what sort of Shep do I want' but as the final part of a larger trilogy the game fails. It's made even worse by the fact they pretty much nailed it up to that point.

          Also I'm not normally a 'they cut DLC from the game!' guy but I felt like parts of the Reaper background DLC should have been worked into the plot. I get that it's like the Prothean DLC where it's not to be taken too seriously and is more of a device to deliver exposition about a subject the game didn't cover, but having the Reapers explained a little more elsewhere would have taken the pressure off the end where it's just a thick blob of new lore.

            I remember watching a video of the Leviathan DLC and thinking that it only compounded the lore problems already present in the Starchild's reasoning. I'd have to watch it again to remind me why, but I recall it making the Starchild's logic even more inconsistent and inherently and utterly broken.

            It's just a shame that such a great series was squandered with such ham-fisted writing at the final hurdle.

          The problem was that the whole AI singularity thing came out of nowhere and was basically Mac Walters / Casey Hudson going "shit, we need to come up with an artsy new ending since rumours about the original ending got leaked."

          Up until the Starchild, ME had kind of gone in a new direction and not rehashed standard sci-fi topics that had been done and explored repeatedly. When I got the end I was like... "right... soooo... someone just watched Battlestar Galactica and played Deus Ex Human Revolution and tried to combine the two for the ending of ME3 even though it didn't fit ANYTHING that came before it?"

          The whole Illusive Man dialogue was effective a Saren rehash - though not done as well as was in ME1 - and the Starchild was just a lazy "oh shit, we need to justify this bullshit ending". The Starchild wasn't criticised because it was like the Architect - it was criticised because it was a BS character introduced at the very end of the story to justify the complete about-face of the story and its tone and shove the meaning and ramifications of the entire plot up until that point into a new direction - barely a few minutes from the ending. The Starchild gets criticised because it is a literal deus-ex-machina. Hell, Indoctrination Theory had people going "Man, wouldn't it be awesome if reality of the end of the game was really 'and it was all just a dream'?" When people are hoping that the end of your story is actually a dream sequence - *you have screwed up*. Plain and simple. The Architect at least had a purpose and a logically consistent viewpoint - the Starchild was internally inconsistent and had no rationale for it's behaviour - which is a pretty glaring error when it's supposedly a completely logical machine.

          I was actually kind of thinking throughout the whole way "yeah, Shepard is going to die at the end, but maybe it if I pull off miracles at every turn, maybe just I might be able to keep Shepard alive". I was willing to see Shepard die, but I wanted that death to be meaningful, and having Shepard turned into Space-Jesus was just utterly painful. Shepard's death wasn't poignant, meaningful or impactful - it was a cheap "Shepard has to die because the plot says so."

          Even the poorly delivered singularity concept (which I'm not sure Mac Walters even actually understands) was undermined if the player managed to broker a peace between the Geth and the Quarians. The Starchild's sole rationale for "AI and organics can't co-exist" was "AI and organics can't co-exist". It was not actually backed by anything at all in the lore or setting or dialogue. The player was basically been told "We can't coexist. Trust me. We have to destroy you because we can't coexist."

          Basically, everything from Sovereign's laser blast onward in ME3 is a gigantic, steaming turd that destroyed what could and should have been the greatest game series of the last console generation.

            was basically Mac Walters / Casey Hudson going "shit, we need to come up with an artsy new ending since rumours about the original ending got leaked."

            Which is dumb because anybody who read the leaked script all the way to the end was clearly ok with knowing how it ends before they play the game.

            I was actually kind of thinking throughout the whole way "yeah, Shepard is going to die at the end, but maybe it if I pull off miracles at every turn, maybe just I might be able to keep Shepard alive".

            Yeah. I didn't mind that he died and I went in knowing it was almost certainly going to happen. For me the only thing throwing doubt on whether or not Shepard would survive was the ending of ME2. I knew he'd die but ME2 gave me a slight glimmer of hope that I could salvage something out of it or possibly even save him. It was another factor that really made the choices feel important in ME3. I felt like I had to balance potential self-preservation, galactic readiness and the outcomes for individual characters. By potentially linking the 'best' ending to galactic readiness they made it so I had to give some serious thought to what I was doing. If someone said 'shoot Wrex and we'll give you a ton of war resources, or let him live and maybe get the bad ending/lose the war' I'd be as torn as I should be rather than just picking the blue option.
            I absolutely love it when games are able to get me to sync up to my character like that without roleplaying. It's genius. It's funny how gushy I can get about ME3 when I'm not talking about the final section. =P

            The Starchild's sole rationale for "AI and organics can't co-exist" was "AI and organics can't co-exist".

            Considering intelligent life was being baited down a specific technological path as part of the Reapers plan it makes sense that the Star Child would be confident in that statement but it makes the entire plan worse. They were going out of their way to ensure that the same thing happened every time.

            I think what makes the ending truly difficult for me is that even the first time I played it there were so many questions and comebacks but all I could really do was listen and select my ending. I get that there's only so much they can do with character interactions and that they didn't want players bogging themselves down exploring a sixty layer deep Investigate tree but this is a talk it out ending in a game full of talking it out. I had more engaging interactions with the reporters.

            I don't want to sound like I'm bitter about the ending. Yeah it bugs me and I'll always defend my stance on the ending, but I just really like talking about Mass Effect.

              "even the first time I played it there were so many questions and comebacks but all I could really do was listen and select my ending"
              Yeah, I think this was ultimately the difficulty they had. Yes, creating a multitude of different endings was always going to be impossible, but the RGB ending choices were just so stale and the whole thing just seemed so forced and illogical.

              I'm in the same boat regarding the ending and Mass Effect in general. The series was without question amazing, and some of the sequences and set pieces had me cheering, laughing, crying or otherwise invoking some real emotion. It was a great series. However, when I started ME3 and got to Mars and realised that the driving plot was "find the (components of the) Prothean macguffin", I started to become a little concerned. That said, the individual components and storytelling components that came through as part of the game transcended that set-up and delivered some genuinely amazing moments. Despite some notable flaws, the significant majority of ME3 is downright incredible. Part of me would love to go through and play the entire series through again, but the ending diminished the joy of the journey to the extent that I simply don't have the heart to do it.

              I lament that the ending wasn't able to do the rest of the series justice and reverted to the comment sci-fi AI singularity premise even though that really hadn't been much of a focus up until that point. It started to be raised as a side issue ONLY in ME3, and even then they still realised that they needed the Starchild to hammer it home because they had no other way of giving it the gravitas it needed given they were only at the final stage of the ME3 turning it into the premise of the entire series and relying on it for the resolution of the story.

              The writers had an opportunity to push something different and give a new theoretical dilemma or moral quandary, and they blew it in favour of something that so much media has covered before, and covered it far, far better.

    Street Fighter: The Movie: The Game
    The Witness

    One of these is a real answer. Guess which one for a chance to be wrong.

      BMXXX would just be a rehashing of BMX Bandits but gender-flipped and all the ladies are topless so I mean if that's not the correct answer then I don't want to be right.

      Catherine... Because reasons... nnnnnnnn >.>

        I've seen a 'movie' being all the cut-scenes and bar scenes stitched together from the game, skipping over the tedious-to-watch/repeat puzzle sections. It actually makes for decent watching, even if you end up rolling your eyes at the protagonist the whole time.

    Still believe Halo would be great if adapted to the big screen.

    Final Fantasy perhaps - already done with Advent Children, but a movie out of X would be pretty cool.

      I think a Final Fantasy TV show would be awesome, problem with a movie is there's too much plot to condense an entire game into 3 hours.

      Do you watch Halo: Nightfall, the live action adaptation with Luke Cage? It didn't exactly sell me on the idea of a big picture tentpole Halo movie. But then again it's pretty low budget so maybe it's not fair to judge.

    The Dig.

    I'll write the script. By which I mean I will rewrite the entire script of the game from memory. Including optional "profound statement" dialogues. Might have to fix a few of the puzzles though, before Neil deGrasse Tyson finds out about the bit where you create a dual lunar eclipse by twiddling a few dials, with nearly zero effect on the tides.

    Star Fox with puppets.

      Like the Wes Anderson style parody? I loved that :)

        Hahaha, how have I not seen that before! That was awesome.

    Uncharted. For the life of me I cannot understand why they're having so much trouble getting that one off the ground.

      A bit too similar to Indiana Jones?

        And by a bit too similar you mean blatant rip off. Not a criticism but it is very design to be Indiana Jones the video game without paying royalties

          That never stopped them making Tomb Raider movies. And Indiana Jones himself is a pretty blatant rip off of older characters like Allan Quatermain.

    Myth: The Fallen Lords. Come on Hollywood/HBO/Netflix, you've got this ready made epic fantasy world just screaming out for adaptation. You're never going to find a better suited, less controversial IP anywhere else.

    Last edited 12/05/16 11:30 am

    Uncharted, using characters and theme, not a preexisting game setting
    Freelancer possibly
    Mass Effect but not about Shep

      Mass Effect but not about Shep

      Good thought because if they included Shep they'd piss off half their audience if they chose the "wrong" gender.


    system shock and bioshock (original - not infinite) both would translate well to film if written for adults and not children.

    Still waiting on Bioshock.
    I have no doubt that it'll get butchered if it does get made, but there's always a small glimmer of hope...

    Lego City Undercover!

    From a little while ago, what about Jara Tava or Granny's Garden? I'd like to see them fleshed out.

    I'd like to see a movie based on Little Big Adventure. Having a fully animated movie of Alundra would be rad too. Something based on the Drakengard universe would be fantastic as well. Now that I'm thinking, there are a lot of less well known games that would make for great movies.

    A boy and his blob, Shadow of the colossus, Bionic Commando and Metroid.

      God, Shadow of the Colossus could be amazing as one of those artier animated features... you know the kind where they're not so cowed by Hollywood star/studio power that they can actually get away with not filling it full of talking and can instead do gorgeous scenery-porn for a few hours.

    There could be some great game movies. I have a feeling they'll be the next "comic book movie" as soon as someone gets one right and makes a lot of money.

    Movies I'd like to see - Red Dead Redemption, Mass Effect, The Last of Us (already happening, right?), The Witcher and Bioshock.

    Metal gear Series.

      It probably would not, if only because it would need like three movies to tell one arc.

        Maybe not. People how forget just how short MGS1 actually was. You can rip through it in a couple of hours (excluding codec scenes though).



    Jones In The Fast Lane.

    Pacman.. inspired by this drawing:
    A sci-fi/psychological horror flick about an astronaut trapped on a haunted spacestation.. Is it all in his mind?

    I do think what would make a good video game adapted movie is where there is a unique take on an established property and essentially becomes the directors own interpretation of it. Imagine Tarantino directing a movie based on Red Dead Redemption, or Nolan directing a Bioshock movie. but yeh It shouldn't re-tell the story already established in the game.

    Last edited 12/05/16 11:50 am

    None of them, frankly.

    The progression of mainstream media as I see it has been, Book -> Film -> Game

    Games are a medium which I feel turning into a movie would be a step backward. Don't get me wrong, I love books and spend a great deal of time reading. But while you can go forwards, and make a good book into a good movie, I don't think there's ever been a time when a movie would make a good book. For me, the same holds true for the transition from games to movies.

    Last edited 12/05/16 11:50 am

      That's interesting. I've never considered the media transition idea going in the opposite direction. Ultimately though I think it can still work. Like, there are a lot of game related books that take place in the game world but aren't the actual story. Same could be done for a book from a movie franchise.

    I cannot believe noone has suggested Fallout. So much could be done with that alternate future.

    I'd also find a movie based on a Far Cry game to be worth the time. Especially Primal.

      Yeh definitely Fallout.. I have a feeling producers see it as a Mad Max clone, but it really has its own unique identity that would make a kick ass movie franchise.

      Have to agree it a bit of a no brainer. Personally despite it missing the monsters I felt The Book of Eli to be the closest so far to a Fallout movie.

        Was thinking the same. Could possibly argue the Mad Max movies are fairly close as well, or even Salute of the Jugger. Good movie if you aint seen it, kinda like Mad Max meets Madden NFL and has a surprisingly good cast.

    Despite the seriously awful previous movies. Silent Hill 2 would be a fantastic psychological horror movie with theright director at the reins.

    The Witcher series seems prime for a movie franchise.

    Last edited 12/05/16 11:51 am

    Uncharted would make a cool movie. Maybe Mass Effect. Definitely The Witcher.

    LittleBigPlanet? A family movie, takes place in Craftsworld or whatever it was called. They have a whole weird society of movie makers and creators who create weird and wacky things. Then a big bad comes along and threatens the entire universe.

    MGS would be a damn awesome movie franchise. Although I'd be more likely to become an anime series.

    Bioshock would be interesting too.

    Last edited 12/05/16 11:57 am

      At the risk of sounding stupid... LittleBigPlanet? A family movie, takes place in Craftsworld or whatever it was called. They have a whole weird society of movie makers and creators who create weird and wacky things. Then a big bad comes along and threatens the entire universe.
      Have you seen the LEGO Movie by any chance?

        I have actually... Ohhh. I see. Umm, yeah... awkward. Carry on, nothing to see here!

        Last edited 12/05/16 6:59 pm

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