THE LANGUAGE OF VIDEO GAMES AS A UNIVERSAL LANGUAGE WITH GLOBAL PERSPECTIVE PROVIDES COMMUNICATION BETWEEN HUMANS FROM EVERY CULTURE AND RACE AT ANYTIME AND ANYWHERE. ON THE OTHER HAND, THE WORKS OF THE CUSTOMS AND CULTURE ORIGINATED OF THIS LAND IS A GOOD RAW MATERIAL TO KEEP PACE BETWEEN TWO MEDIA OF VIDEOGAMES AND LITERATURE. THE DIFFERENCE IN NATURE OF LITERATURE, RELYING ON ITS WRITTEN WORDS AND PURPOSES, WITH VIDEO GAMES, BY CREATING IMAGES FOR ITS AUDIENCE, PROVIDES A GOOD OPPORTUNITY FOR THE PRODUCTION OF CULTURAL GOODS FOR INTRODUCING THE HERITAGE OF PERSIAN LITERATURE THROUGH VIDEOGAMES IN NATIONAL AND INTERNATIONAL ARENA. ADAPTATION AS A CREATIVE ART MOTIFS CONVERSION BECOMES A SIGN SYSTEM FOR THE VIDEO SYSTEM IN APPROACH ALONG TO LITERATURE AND IMAGE MEDIA. DISCOVERING COMMON AREAS OF EXPRESSION BETWEEN THE SOURCE OF BORROWING AND THE PRODUCED TEXT, IS THE MOST IMPORTANT AND MOST EFFECTIVE WAY FOR MAINTAINING ARTISTIC VALUES AND CONVEYING THE SPIRIT OF WORK IN THE PROCESS OF ADAPTATION, IDENTIFYING STRUCTURAL SUBSCRIPTIONS IN VIDEOGAMES FROM IRAN'S RICH LITERATURE, WITH A FOCUS ON SHAHNAMEH, THREE PRACTICAL MODELS IS PROVIDED BY GATHERING INFORMATION TO RESTORE THE TEXT OF SHAHNAMEH TO VIDEOGAMES AND GAMEPLAY. THE THREE MODELS ARE INCLUDED: SELECTION OF INDIVIDUAL LINES OF POEM, SELECTION OF INDIVIDUAL TOPICS AND SELECTION OF POEMS ACCORDING TO THE GENRES OF COMPUTER GAMES. ACCORDING TO DUDLEY-ANDREW S, ARTICLE “ADAPTATION”, (1945), THE CONTEMPORARY THEORIST IN THE AREAS OF THEORY AND AESTHETICS OF CINEMA, SHE HAS RAISED BETWEEN ADAPTATION AND A LITERARY TEXT THREE FUNDAMENTAL RELATIONSHIP: LOYALTY, BORROWING, AND CONFLUENCE.