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John Wick creator says he has two surprising game IPs he'd like to adapt for TV

In the wake of successful game-to-TV adaptions of games like The Witcher and Castlevania, the creator of the John Wick franchise, Derek Kolstad, has revealed he has two more gaming IPs he’d like to bring to life for television – My Friend Pedro and Bendy and the Ink Machine.

“I’m going out with a pitch for a television series based on the My Friend Pedro video game, as well as for Bendy and the Ink Machine,” Kolstad told Comicbook. “I am playing any… It’s funny, the reason I’m answering it this way, literally, I have these Post-It notes on my computer of, ‘This is what I’m working on today.'”

“To be honest, I love it all,” he added. “Those are at the forefront, but at any given moment, people are jumping on the horn and we’re talking The Janson Directive or we’re talking Death Machine, we’re talking actors with IP, sound men. I got to tell you, man, I’m still a little kid at this and I f–king love it.

“If I can emulate and replicate any success I’ve had with John Wick elsewhere, I’m going to be that 11-year-old that snuck into an R-rated movie, giggling.”

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In case you missed them the first time around, Bendy and the Ink Machine was a horror-lite that saw the mascots of a Disney-inspired animation studio come to murderous life. With 40s inspired artwork, stunning cinematics and a clever premise, it sounds like it could indeed make a successful transition to TV.

My Friend Pedro, on the other hand, is a shoot-em-up about a talking banana and honestly, I have no idea on how that’s going to work. That said, there’s not a hair on my head that isn’t curious and wanting to know more.

“My Friend Pedro’s two halves of the banana reveal the perilous balancing act of game design,” we said in the My Friend Pedro Eurogamer review. “The first half is a stellar example of how to build an action game, of how to engender a sense of creativity through the player’s toolset, and how to bake seamless flow into complex and challenging environments.

“The second half isn’t quite the opposite of that, but it tries much too hard to be clever, with humour that’s less goofy and more edgy, and level design that’s too exacting in its structure.”

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