This study examines how the epic structures of Ferdowsi's Shahnameh have been recreated in ten widely viewed LEGO-style animations related to the Third Imposed War of the United States and Israel against Iran—a question that, despite the wide circulation of these works online, has not yet been examined within a literary-theoretical framework. This qualitative study, drawing on Gérard Genette's theory of intersemiotic hypertextuality, Paul Wells's concept of metamorphosis in animation, and cultural semiotics and structuralist narratology, was conducted using a comparative analytical method. The findings show that the relationship between these works and the Shahnameh is not one of direct adaptation or narrative rewriting, but rather a reproduction of deep epic structures within an audiovisual sign system. Patterns such as the opposition of good and evil, justice and injustice, order and chaos, hero and anti-hero, defense of the homeland, and the restoration of order are shared by both texts, yet in the animations they take on new forms through image, color, movement, and music: the individual hero of the Shahnameh is transformed into a collective hero, and traditional weapons of war (sword, mace, arrow) are transformed into modern equipment (missiles, drones), while the cultural signifieds of resilience, national identity, and the legitimacy of defense remain unchanged. The digital medium and active audience participation have also played an effective role in the spread of this recreation. Accordingly, the Shahnameh is presented not as an ancient, static text but as a dynamic "mother-text" of cultural and narrative patterns, for which the theory of intersemiotic hypertextuality offers an effective tool to study its continuity in new media.