After doing the research, adjusting the structure, and really analyzing the foundation of my film, I realized the core action isn’t just conflict, it’s combat.
Many of the characters and creatures represent different ancient and modern fighting styles from around the world. Their identities are rooted in discipline, technique, and cultural combat philosophies. When I stepped back and looked at the sheer volume of character-versus-character fights built into the story, the direction became clearer.
That’s what led me toward a 2D fighting or platform fighter style approach, something in the MK, Smash, Brawlhalla lane. It felt like the smoothest transition from narrative to gameplay.
Now I’m curious,
What’s one method you use to figure out the best gaming spin-off for your IP?
Do you look at the core action?
The emotional tone?
The world structure?
Market trends?
How do you decide what genre your story naturally converts into?
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I've not considered the gaming aspect- well not completely. But honestly, for me- I tend to things like Skyrim, Duke Nukem, and other old style stuff. Where the world structure and the storyline is king. Yes, you can do anything else, but without that core-- does it really hold up to what I need the game to be? Interesting thoughts to consider.
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Dwayne Williams 2 I honestly leave the game design decisions to game developers. It's very far from script narrative. Even RPGs have entirely different structures.
Cynna Ael Skyrim is magnificent to learn from. I agree that a strong storyline and world structure are essential, because without that core foundation, the experience just doesn’t hold the same weight.
Shadow Dragu-Mihai, I’m curious, what do you think a game narrative designer actually does within the development process?
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Dwayne Williams 2 They have to address a huge complex of story, dialog and gameplay permutations, based on defined player choice latitude for action, dialog, and interaction with programmed environment. It all has to be balanced and even a minor expansion in an open world concept can break story or gameplay. Unanticipated player choices or preferences can impact perceived playability and the gaming community's response is immediate and often unforgiving. Of course for the last 5-8 years, AI has been a part of NPC responses in the larger budget games, and that's another thing entirely. This is one of the reasons that games like can have ~80gb, or much more, of data, compressed. It's not something that anyone who hasn't been in the space for a decade or so should be doing.
Thanks again for your insights on narrative design Shadow Dragu-Mihai. I really appreciate the depth you bring to the discussion. Since I also create outlines for my films, complete with script and bible, I’ve been applying a similar process to my IPs when thinking about original game adaptations. My approach is to define the style, core loop, missions, narrative arc, lore, and comparables, without actually developing the game software, just presenting a structured vision document. (still learning UE)
I came across this Stage 32 blog on making IPs impossible to ignore ( https://www.stage32.com/blog/coffee-content-making-your-ip-impossible-to... ), and it reinforced my belief that having a clear, compelling outline adds value. Do you feel this kind of approach is valid when pitching to studios with both film and game backgrounds, or do they prefer to see only prototypes? I’d love your take on whether this kind of outline genuinely helps them evaluate transmedia potential.
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That's a smart, organic approach—letting your story's core action (combat) naturally point toward a fighting game genre, rather than forcing a trend. It keeps the characters' identities intact. When you analyzed the fighting styles, did any character unexpectedly reveal a gameplay mechanic you hadn't seen in the original story?
Thanks Sam Rivera! Great question. 11 DOORS is built around different fighting styles from cultures across the world and across history, with each character representing a darker martial discipline tied to real weapons, combat philosophies, and techniques from their nation or era. Because of that, the characters almost naturally translate into unique move sets and mechanics, which is what made the fighting-game direction feel like the most organic gameplay adaptation.