Another look at a RWBY adaptation this week. The web series is well on its way to being the first web-based franchise, and the series itself is still going strong. Last time with RWBY, Lost in Translation looked at the manga adaptation by Shirow Miwa published by VIZ. Today. a different manga adaptation, the Official Manga Anthology.
Released by VIZ in 2017, the four volume series is less about an ongoign story and more about character studies of each of the main characters. Each volume focuses on a different character, with Ruby featured in volume 1, Weiss in volume 2, Blake in volume 3, and Yang in volume 4. The stories inside are short, no more than ten pages, and each volume features a number of creators.
The character studies look at different facets of the characters, bringing out what the creators see in them. Ruby comes across as a determined young woman, one who wants to be a hero while still caring for her friends. Weiss is shown as having an icy exterior, caring deep within, and pushing herself more than anyone else could. Blake has her faunus nature and her past as a White Fang terrorist contrasted with her new friends and new role as a huntress-in-training. Yang is the big sister, the tomboy who likes frilly things. WIth a wide range of contributors, there are a wide range of interpretations.
With anthologies, the stories aren’t going to be long, complex, and epic. Instead, they are cute, poignant, subtle, brash, and insightful. Each volume has almost twenty different views of the feature character, a contrast to the manga by Shirow Miwa. Each view is valid, as no two people are going to agree on details, even if they agree overall about the character. The results may vary, but readers get to choose how they vary by their own personal tastes.
The manga anthology takes a different approach to RWBY, one that allows for a deeper look at the characters. The artwork for the most part is lush and the characters are recognizable. For an adaptation, that is expected, yet many adaptations can’t hit that. The anthologies continue by exploring the personalities seen on screen, with each member of Team RWBY in the spotlight and none out of character. The series is a good addition to the RWBY franchise.
RWBY is turning into a franchise, possibly the first franchise from a web series. A few months ago, Lost in Translation looked at the first RWBY novel, EC Meyers‘ RWBY After the Fall. A follow-up novel, RWBY Before the Dawn by the same author, is due out July 2020. Merchandise is available, including Funko Pop! figures. Add on to this a video game, a comic mini-series from DC Comics and two separate manga lines. One of the manga lines is a series of anthologies, each volume focusing on a different character on Team RWBY. The other is a 2015 release by Shirow Miwa and published by SHUEISHA. VIZ then received the English language rights to the manga in 2016.
While RWBY is up to its seventh series, interest in the show began early. The 2015 publication of Miwa’s manga came between seasons 2 and 3 of the series. The manga picks up on some threads left by the trailers – Red, White, Black, and Yellow – and season 1. Team RWBY doesn’t just have to deal with Grimm. There’s also rivals at Beacon Academy and mobster Roman Torchwick to deal with. Team RWBY isn’t alone, though. Team JNPR – Jaune, Nora, Pyrrha, and Ren – are there to help.
With a series early in its run, getting details right is key. Character design is the first thing audiences will notice, especially when going from one visual medium (animation in this case) to another (manga). Helping the transistion between media is RWBY having an aesthetic similar to /anime/, Japanese animation. Fans are already prepared for the art style. The personalities of Team RWBY are brought over without problems, as well. Ruby is young, unprepared, but is willing to step up to be a hero. Yang is boisterous, ready for action. Blake is reserved, slowly opening up with her new friends. Weiss is warming up to her teammates as well, though her icy exterior comes from different reasons than Blake’s. The four are recognizable in appearance and action.
In fact, all the characters are recognizable, even those with limited screen time in the manga like Penny. Even the Grimm behave as expected, though with a nice twist to challenge Team RWBY and Team JNPR. After all, there has to be a surprise or two.
The manga gives more details about dust, the magic powder used to power the weapons used by Huntresses and Hunters. Weiss, being the heir to the Schnee Dust Company, provides most of the info, as is fitting. Not everyone wants to hear it, but the info is out there for readers. The first part helps fill in details that audiences of the animated series might not have received.
Miwa’s RWBY is very much RWBY, especially as it was in 2015. A snapshot of a series that continued to evolve. The manga may not reflect what RWBY is now, it is a reflection of what it was and is still worth a read.
Movies based on TV series can go in one of two routes. The first is the remake, where a TV series is used as the basis of a movie. CHiPS and the Mission: Impossible series of movies are a good example. Sometimes the remake works; sometimes it doesn’t. The other approach is to either continue a TV series or give the series an ending. Typically done with the same cast, the movie provides fans a chance to see the characters at least one last time. Star Trek: The Motion Picture, Serenity, and Veronica Mars are examples here. Of course, there are movies based on TV series that don’t fit into either category. Batman (1966) was created to advertise the TV series in the new markets it was going to. And then there’s The Simpsons Movie.
The Simpsons began as a feature on The Tracey Ullman Show in 1987. The popularity of the shorts increased their frequency over the run over The Tracey Ullman Show, leading to the creation of the TV series in 1989. The Simpsons has been running for thirty-one seasons as of this writing with no signs of stopping. The series had a short time being aired on Thursdays, defeating NBC’s powerhouse, The Cosby Show, in the ratings, before being moved to Sundays. The series is now the longest running American prime time series, live action or animated. Soap operas and sports broadcasts are the only TV series that have lasted longer. There are people watching The Simpsons that were born after the series started.
The Simpsons have been around long enough that anything that they could parody has long since ended. The show is now the media standard it made fun of in the past. What more can the Simpson family – Homer, Marge, Bart, Lisa, and Maggie – get up to? America’s animated nuclear family, with a mother, a father, and 2.3 kids, has been through a lot, including moving their hometown of Springfield due to pollution. The series has a loose continuity. Big events tend to have echoes in later episodes, but other events are remembered when convenient.
A typical episode has one of the Simpsons, most likely Homer or Bart but even Maggie has instigated a plot or two, coming up with a scheme that backfires horribly. The rest of the episode has the cast trying to clean up the mess. The series has a large supporting cast thanks to being a long runner. It’s very possible now for a season to focus on a different character each episode and run out of time before running out of characters.
The year 2007 was twenty years after the first appearance of the Simpsons. The characters had evolved a lot in their animation style since their Tracey Ullman days. The only thing left was to go full CGI. The Simpsons Movie broke that barrier in glorious 2-D. With the same cast and crew as the TV series, the movie could easily keep to the core of what makes The Simpsons tick. It’s just a matter of what goes into the movie.
To no surprise, really, The Simpsons Movie plays as an extended episode of the TV series, just bigger thanks to the size of a movie screen. Things go horribly wrong yet again thanks to Homer. The fate of Springfield and all its inhabitants is sealed when Homer thinks with his stomach and makes the city’s already terrible pollution worse. The EPA cuts off Springfield from the rest of the world with a dome, with only the Simpsons able to escape.the city, just ahead of a lynch mob.
The movie plays with the idea of being based on a TV series, with screen crawls and a fade to black with “To Be Continued” on screen. Any character who appeared in the TV series appears in the movie with the possible exception of Side Show Bob. There’s an extended “Itchy & Scratchy” short to open the film before the opening credits, a more orchestrated version of the TV show’s credit sequence but ends with Green Day instead of a couch gag. The movie is The Simpsons, with more time to let the story idea play out and all the extras, such as cameos, that are expected.
The Simpsons Movie is just that, The Simpsons as a movie. The differences are in the budget, allowing for better animation for the bug screen, a fuller orchestration of the soundtrack, and higher stakes. For those expecting more than that, disappointment awaits. However, The Simpsons Movie delivers on the expectations set by The Simpsons.
Crossovers can be an odd lot. When done within the same setting, characters from two or more sources, typically series, meet and work out a way to solve a problem they have in common, whether the problem is medical, social, or villainous. Crossovers become events in comics and on TV; casts appearing outside their own title does draw an audience but the writing has to take into account the new personalities. Cross-corporate crossovers are an oddity. Normally found in the realm of fanfiction, where negotiations between companies about how their property appears isn’t a thing, the cross-corporate crossover does occur from time to time and is treated as an event by all companies involved. Examples of successful cross-corporate crossovers include JLA/Avengers, bringing DC and Marvel’s premier super teams together, and Who Framed Roger Rabbit?, bringing together cartoon characters from Disney and Warner Bros.
Archie Comics, though, tends to have the more interesting crossovers in the comic industry. Among the crossovers are The Punisher Meets Archie, Archie Meets KISS, Archie vs Predator and Archie vs Sharknado, the latter being an official crossover written by the Sharknado creators. Archie is the little black dress of comics; he goes with everything, no matter how odd the pairing seems on first glance.
DC, in the meantime, has been continuing some if the older TV series based on their characters, notable Batman ’66, based on the Adam West series, and Wonder Woman ’77, based on the Lynda Carter show. Both series aim to capture the feel of the original series. And this is where Archie comes in. Archie Comics has a timelessness thanks to being around since 1939. Their titles have reflected a wholesome image of teenagers ever since, with the characters remaining a constant despite changes in culture and society over time. The company’s digests have featured current and older stories, with the only real difference being art style and fashion. This makes dropping Archie and his friends into a specific era easy to do.
Archie Meets Batman ’66 is not an unusual crossover for Archie. The Adam West Batman series shows a more wholesome version of Gotham City, a Gotham terrorized by villains foul, that wouldn’t look out of place beside Riverdale. Archie fits into that setting without any need to shoehorn details.
The comic ran as a six issue mini-series in 2019, then later released as a trade paperback collection. It begins in Gotham City as Poison Ivy terrorizes the World’s Science Fair with her snapdragon, only to be thwarted by Batman, Robin, and Batgirl. But Ivy provides the distraction Bookworm needs for he and his henchwoman, Footnote, to steal an electronic book. Elsewhere, the United Underworld – Catwoman, Joker, Penguin, and Riddler – comment on Ivy’s efforts, The Riddler realizes that Gotham isn’t where the United Underworld should start its world domination. Batman is just too difficult to overcome. It would be easier to take over a city that doesn’t have a superhero. Riverdale has everything Gotham has – a chief of police, a rich millionaire – and no Batman. Very low crime rate, even. Perfect for striking.
Hiram Lodge is the first victim of United Underworld’s mind control scheme. However, the scheme only affects grown men. With coerced help from Riverdale technical genius Dilton Doiley, the villains manage to get all the adults, but teenagers are still a random element. Riddler finds a protege in Reggie Mantle, while the Joker needs effort to turn Jughead into a junior version. Catwoman’s alter ego Miss Kitka gets most of the teenaged boys on board, leaving Veronica, Betty, and the other teenaged girls, plus Kevin Keller, to figure out how to stop the United Underworld. Fortunately, Batman is on the case. It takes a combined effort from Batman, Robin, Batgirl with Archie and his friends to defeat the United Underworld and save Riverdale.
With crossovers, characters from both sources need to be equally active in the plot, at least to the point of believability. Having one set of characters be in the backseat of the plot, being dragged around from plot point to plot point, does them a disservice. The spotlight’s on all the characters, not just the ones from one of the sources. Archie Meets Batman ’66 does this. While Archie and his friends aren’t trained crime fighters, they do pitch in. They may not fight, but they are willing to be distractions. Likewise, Batman, Batgirl, and Robin don’t stand alone against the villains in Riverdale. They accept the help offered.
Details are also important. DC’s Batman ’66 is based on the Adam West Batman, not the regular continuity. A Batman that works only in black and really dark gray wouldn’t fit in. The colours are bright, suiting both the 1966 series and Archie Comics. Even the smaller details help. United Underworld is pulled straight from the movie, as is Miss Kitka. The Joker has Cesar Romero’s mustache under the whitepaint. The Batusi makes an appearance as does The Archies’ hit single, “Sugar Sugar“, albeit three years too early.
There are scenes, though, when the soundtrack starts playing in your head. Fight scenes have the appropriate written sound effects, none repeated in the run of the mini-series. The narrator, who in most comics serves to remind readers of past events, takes on the voice of the TV series’, with alliteration during the cliffhangers at the end of chapters 1-5.
Archie Meets Batman ’66 manages to meld the two sources, combining Archie Comics’ timelessness and wholesomeness with the 1966 Batman TV series’ sense of fun and camp. The two merge seemlessly, a crossover long overdue. Both sources come through shining.
Lost in Translation has pointed out that television is the better medium for adapting longer form stories, such as novels. Of late, movies are better with mind blowing, budget breaking action scenes, but are limited when allowing a story to develop. Television doesn’t have the budget, but a good accountant can find ways to spread the costs over the run of a season. The catch with TV, though, is ratings. A series that can’t find an audience fast enough is often cancelled. The days where series like M*A*S*H and Cheers would be allowed time to grow an audience. Today’s television is not only competing among the networks and cable stations but also streaming services.
The key to adapting a novel is knowing just how much time can be filled. The Expanse took seventeen episodes to adapt the first book of the series, Levianthan Wakes, all of season one and the first seven episodes of season two. If the series wasn’t picked up after the first season, The Expanse would have ended at a natural break point, leaving the main plot still unfinished but giving the characters an end of sorts for their arcs.
Season lengths tend to be set for American network productions; thirteen or twenty-two episodes, giving allowing for reruns and holiday breaks. British television, though, is not beholden to the format. Seasons run as long as needed, no more, no less. This gives a bit more freedom when it comes to adaptations. There’s no need for filler episodes as seen in long running anime or even original TV series on American television. Being able to set the length of a series adapting a novel means the showrunner can figure out what can be kept and what can be dropped without losing the core of the original work.
The 2019 adaptation of Good Omens is perhaps the best use of a limited series to adapt a novel. Based on the novel Good Omens: A Nice and Accurate Prophecies of Agnes Nutter, Witch by Neil Gaiman and Terry Pratchett, the series co-produced by the BBC and by Amazon took on the task of adapting the book nicely. The main catch to the novel was the narrative. The narrator provided a lot of extra information and footnotes that would be difficult to replicate. Tone is also crucial; the original novel is a comedy about the End of the World.
Published in 1990, the novel takes the idea of the Antichrist as seen in such movies as The Omen and asks the key question, “What if the Antichrist didn’t have angelic or demonic influences?” The novel also looks at the question of nature versus nurture, ineffability, and the nature of humanity. All while an angel and a demon rebel against their own sides to save the world.
How does the Antichrist get misplaced, though? One would expect that the angelic hosts and demonic hordes would keep a close eye on the bringer of Armageddon. However, while God does not play dice with the universe, God is also not beyond a little Three-Card Monte, by adding a third baby to the mix. Not only is the wife of the American ambassador giving birth at St. Beryl’s Order of Chattering Nuns, but Mrs. Young is as well. The demon Crowley passes the Antichrist off to one of the Satanic nuns who gets confused on who is the American ambassador and switches out the wrong baby. While Heaven, represented by the Principality Aziraphale, and Hell, with Crowley coming in, try to influence young Warlock, the Antichrist, named Adam, is growing up in Tadfield, England.
Add into the confusion Anathema Device, a professional descendant of Agnes Nutter, and the owner of the only copy ever published of Agnes’ book, The Nice and Accurate Prophecies of Agnes Nutter, Witch; the Witchfinder Army, consisting of Witchfinder Sergeant Shadwell and new recruit Newt Pulsifer, descendant of the man who burned Agnes at the stake; the Four Horsepersons of the Apocalypse with new recruit Pollution replacing the retired Pestilence; Adam’s gang, Them, with Pepper, Wensleydale, and Brian; and a Bentley where every cassette morphs into The Best of Queen over a fortnight. Gaiman and Pratchett keep the story moving along and a good pace as Adam starts realizing that he is more than what he appears as his eleventh birthday approaches. Ultimately, Adam shows that he is neither good nor evil, just human.
Being adapted can be seen as winning the lottery by some writers. It takes writers with experience and pull to be able to control how their stories are adapted. Neil Gaiman is one such author, with experience working in television and enough best sellers to make studios notice. Gaiman became the showrunner for the 2019 adaptation of Good Omens. His familiarity with the story and his respect for his co-writer Pratchett comes through with the results. Gaiman also wrote the script and, working with the BBC and with Amazon’s streaming service, was able to get the novel out without being rushed, without losing key ideas, and without having to cut corners.
The series starred Michael Sheen as Aziraphale and David Tennant as Crowley, with Adria Arjona as Anathema, Jack Whitehall as Newt, Miranda Richardson as Madame Tracey, Michael McKean as Witchfinder Sergeant Shadwell, Sam Taylor Buck as Adam, and Ollie as the cutest Hellhound ever, Dog. The six episodes follow the events in the novel closely, losing only a few bits and characters due to limitations. To new viewers, though, these losses don’t leave a visible hole, so the second set of Four Bikers of the Apocalypse aren’t muddling the flow of the plot onscreen. Likewise, the reason Queen is used as the soundtrack is never explained, but it’s a soundtrack featuring Queen. The fate of the third baby isn’t revealed, leaving the question dangling of what just happened after the swapping at St. Beryl’s. At the same time, the series expands on how the Arrangement between Aziraphale and Crowley came about, where they cover for each other when one gets stuck elsewhere.
The narrator is handled by having Frances McDormand be the voice of God, narrating as needed, giving the extra explanations the narrative in the original novel does. The Metatron, the Voice of God, though, is played by Derek Jacobi. By having God narrate, the little asides that come up in the book can carry over to the series, giving the audience the information needed to understand where the story is going and why.
Casting was critical. The chemistry between Aziraphale and Crowley had to work. Fortunately, Sheen and Tennant were more than capable in recreating the forbidden camaraderie of two people who have known each other over 6000 years. Sam Taylor Buck plays Adam as a normal kid who isn’t all that normal, one who just wants to enjoy his time at home, neither good nor evil. The cast, in short, was perfect, even with the minor characters like Jon Hamm’s Gabriel, portrayed as an out of touch middle manager who doesn’t have to deal with the front line.
Having Gaiman as showrunner ensured that the adaptation stayed true. The parts and characters that were removed weren’t needed in the overall plot and would have taken up time needed elsewhere. Good Omens remained faithful to the original novel, keeping the tone and the themes that helped make the story popular.
A new Sonic the Hedgehog trailer was released earlier this month and it corrected the biggest problem that the movie had. Sonic now looks like Sonic.
That may not mean much, but the original trailer had Sonic looking like a normal hedgehog mutated to be blue and big. Which could have been recoverable at the time, except Detective Pikachu had trailers showing various recognizable Pokémon interacting with live action as well with no sign of changes from the original designs.
What could Paramount Pictures do when faced with this hurdle? Delay the release and call in a fan, Tyson Hesse, who has worked for Archie Comics on their Sonic titles. The result, the new Sonic design which actually looks like Sonic. This is key. Video game adaptations have a poor reputation, thanks to such early releases as Double Dragon and Super Mario Bros. Adapting from games has been discussed here at Lost in Translation, but the biggest hurdle is translating gameplay into a narrative. It should be simple, but what works as a game – running around gathering rings to defeat the villain – doesn’t always translate well.
The studio’s decision to bring in a fan, though, shows that video games are being respected more. People do get annoyed when a favourite book gets mangled for the sake of a movie or TV series, the result being an audience that fails to show up. Video games, much like comic books, are now being given the same treatment; the fans have an expectation that the studio has to fulfill instead of the studio slapping a name on a project.
However, there’s another change in the newest trailer. Tone. The first trailer goes for the action feel, a fight against overwhelming odds. The latest turns the movie into more of a comedy. It could be that the movie is an action-comedy road trip, and that’s not a bad thing with the character. The change is noticeable, though, down to the choice of music. The new trailer introduces a sense of fun to the movie. That may be the film’s salvation. People are willing to forgive a movie for not being great if it’s at least fun to watch. Cleaning up the main problem – Sonic’s appearance – and adjusting audience expectations will go a long way to get an audience interested.
The biggest problem with the new trailer is that it almost tells the entire story on its own. While the goal of a trailer is to entice the audience, it’s possible that the only thing left untold is the ending, and there may be enough hints already to see how the end will happen. This isn’t a problem unique to Sonic. Far too many studios will use the key plot points in advertising to get attention without realizing what is being given away. Paramount may have gone too far in correcting the original trailer here.
Will Sonic the Hedgehog be a great movie? Probably not. But it’s not aiming for that level. It’s trying to be a fun movie, judging from the latest trailer. Audiences will get to decide for themselves in 2020.
A couple months back, Lost in Translation reviewed the first season of The Expanse based on the series by James SA Corey. The first book of the series, Leviathan Wakes, is a mighty tome on its own, resulting in the first season covering only half of it. Instead of trying to push the entire book into the first season and rushing the story line, the studio focused on the pace, allowing the horror lurking beneath the surface to build much like it did in the novel. The end of the first season was a natural break point with a satisfying conclusion with not everything wrapped up.
This review is going to cover just to the end of Levianthan Wakes. The second season of The Expanse wraps up the book by the seventh epsiode, leading into the next book augmented with information from short stories in the setting and dealing with the fallout from the events in the first book. The first seven episodes of the season wrap up the book.
The latter half of Leviathan Wakes switches from hard SF and film noir to horror and first contact. A molecule, called “protomatter”, has been discovered and a corporation is doing everything it can to keep the discovery under wraps until they find a way to monetize it. Earth and Mars are on the brink of a war that will affect the Belt and beyond even if Belters take no part in it. Miller finds Julie Mao, dead. Then things get worse.
The corporation turns Eros into a radioactive experiment with protomatter, dooming anyone who can’t escape. Holden and Miller have to fight their way to the Rocinante and pick up a near-lethal level of radiation that can’t be handwaved away. Ultimately, the decision is made to destroy Eros before it can reach Earth, though even hitting it with a spaceship on a high-G burn doesn’t go easy. It comes down to a disgraced cop on his final case to save Earth.
Season two of The Expanse continues with the increased viewpoints beyond just Miller and Holden. We’re shown what is going on in the halls of power on Earth, the troops on the ground on Mars, the people waiting in the Belt. Everything still hinges on Holden and Miller, though. Decisions get made to set Eros up for destruction. There is a lot of action in the latter half of the book, and describing action takes more time than just showing it on screen. A raid that takes a few chapters can be done in one episode with no loss of story. Each medium has its strengths and drawbacks, and a visual medium can handle a visual element far better than text.
The pacing does pick up, but that follows from the novel. The protomatter’s secret is revealed; it is extraterrestrial and capable of transforming a living organism into a form it needs. And Eros is filled with it and heading to Earth. The pacing of the series accelerates like an object falling due to gravity, and the payoff is the same as in the novel.
The Expanse continues to pull in from other stories in the series to flesh out what’s happening, keeping the storytelling more or less linear, with a few exceptions in shown in flashbacks. The series also works at making it easy to tell who is from where, from distinctive hairstyles to slang and lingo to even tattoos. The series brings the setting alive despite the limitations of being filmed in a gravity well.
Poetry, like songs, aren’t adapted to other media often, not like prose or serial art. The goal of a poem is more about emotion than narrative, though there are poems that are stories. Such poems, though, are limited by length. Like songs, it can be a stretch to expand a poem from what is written to fill a time slot. Some studios have tried, though. What helps is using a well-known poem, such as Edgar Allen Poe’s works.
Poe’s “The Raven” is a staple in high school, serving as an introduction to mood and tone while not being so esoteric to turn students away. The moodiness of “The Raven” allows for dramatic reading, with readers being able to set their own interpretation of the words. The poem is told from the view of a man who is suffering from grief and possibly more and wanting salvation, only to torture himself when a raven enters his home and says just one word, “Nevermore.”
Universal had a number of successes with horror movies, including Dracula with Bela Lugosi and Frankenstein with Boris Karloff, both released in 1931. Lugosi and Karloff became draws for audiences, so Universal teamed them up, first in The Black Cat, based on Poe’s short story of the same name, and then in 1935 with The Raven.
The Raven starred Lugosi as Dr. Richard Vollin, Karloff as Edmond Bateman, Irene Ware as the dancer Jean Thatcher, Samuel S. Hinds as her father Judge Thatcher, and Lester Matthews as her beau Jerry Halden. While Karloff had top billing, the movie is really Lugosi’s. His Vollin provides the plot for the film. The catch of the movie, though, is that it is “suggested by” Poe’s “The Raven”. The film warns audiences that the adaptation might not be faithful.
The poem guides the movie, though. The film begins with Jean driving and failing to make a turn to a detour, leaving her injured. Only one doctor has the knowledge and skill to help her, Dr. Vollin, but he’s left his career. Judge Thatcher manages to convince him to go to the hospital, where Vollin begins his obsession over Jean.
The surgery is a success and Jean is able to get to her next performance, an interpretation of “The Raven” with her as the bird. Vollin’s obsession grows, though, and he hatches a plot when Bateman arrives at his doorstep wanting surgery to change his appearance. What no one suspects is that Vollin has a second obsession, torture. To escape his torture, he needs to torture someone else. Batemen is his first victim, becoming disfigured after surgery. Vollin makes an offer to Bateman – become his hands in what he has planned, and he will remove the disfigurement. Batement agrees.
Vollin invites Jean, her father, her beau, and their friends for an evening’s soiree. During this time, Vollin puts his plot to action. Bateman grabs the Judge, taking him down to a deathtrap straight from Poe’s “The Pit and the Pendulum”. It’s only when Jean and Jerry are trapped in a sliding room trap that Bateman acts, releasing the trapped couple and throwing Vollin in.
The Raven uses the poem for mood, the idea of obsession and of self-torture. Vollin is a tragic character, but by his own hand. He sets up his own demise, a very Poe-like approach. But the closest the film gets to adapting the poem is the interpretive dance sequence. Vollin does recite a few lines of the poem, and he uses a raven as his symbol. A doctor using a symbol of death isn’t reassuring, and it does foreshadow what will happen.
With the film being “suggested by”, there is no Lenore. However, if the poem is included in the movie, can there be a Lenore? There’s no one by that name, but Jean fills the role for Vollin. Even going metaphorically get be a stretch, though. The Raven is more inspired by “The Raven” and other works of Edgar Allen Poe than a proper adaptation. In that light, the film works. There is the horror and dangers of obsession, a theme Poe touches on in several works. As an adaptation, however, The Raven misses the mark.
The World Wide Web is an equalizer when it comes to entertainment. While major studios have money to throw into marketing, word of mouth can be more effecting online. It shouldn’t be surprising that web series have become popular the way TV series and films have. Rooster Teeth began as a machinima producer with Red vs Blue, using Halo: Combat Evolved to tell the story of the forces defending a strategic box canyon. Rooster Teeth’s latest hit is RWBY, with season seven coming this November.
RWBY, pronounced “Ruby”, follows four students at the Beacon Academy on the world of Remnant – Ruby, Weiss, Blake, and Yang. Team RWBY learns how to work as a team and with their classmates, including Team JNPR (“Juniper”), with the goal of becoming Huntresses to fight off the Grimm, monsters out of fairy tales that roam the lands of Remnant endangering the inhabitants. Created by Monty Oum, the series has action, comedy, and drama in equal portions, sometimes intermingling. The series uses fairy tales, myths, and legends for inspiration, tweaking them for the story and setting.
Season one sees Team RWBY as fresh students at the Beacon Academy. As the series progresses, they discover the larger world around them, including criminal organizations, the White Fang (a Faunus terrorist group), and different types of Grimm. The Grimm, though, do attack Beacon, causing it to fall and leaving Team RWBY working to clean up.
The Fall of Beacon is where the novel, RWBY After the Fall, by EC Myers, picks up. Instead of following Team RWBY, as the series does, After the Fall chronicles a different team, Team CFVY (“Coffee”), composed of leader and fashion plate Coco Adel, rabbit Faunus Velvet Scarletina, blind but crafty Fox Alistair, and burly yet gentle Yatsuhaishi Daishi. It’s not just Beacon having problems with the Grimm after the Fall of Beacon. All of Remnant is being overrun and Huntresses and Huntsmen are needed, even if they haven’t completed their education.
While the focus is on Team CFVY, Team RWBY shows up in flashbacks that show CFVY trying to come together. Coco, Fox, Velvet, and Yatsu are distinct characters, with their own motives and personalities. They are sent to the continent of Vacua, a land of desert and Fox’s home, where the inhabitants keep on the move. With the Grimm around, life gets difficult. Worse, a group of refugees being protected by CFVY are inflicted by mood bombs, pushing negative emotions to the point of in-fighting and drawing the Grimm to them. Adding to the problem are Bertilak and Carmine, experienced Huntsmen protecting Edward and Gus who have their own mission.
Team CFVY is pushed to their limits as they try to deal with everything, the refugees, the Huntsmen and their charges, and the Grimm. The only haven may lie on the coast, but getting there is one challenge after another. The team has to dig deep into their personal reserves to be the heroes they were training to be.
After the Fall may be the first tie-in novel based on a web series, an indication of the evolution of where audiences find their entertainment. The novel also branches off from the main series, showing what is happening beyond the exploits of Team RWBY. The world of Remnant gets a little bigger with After the Fall. By moving to another continent, there’s no chance of derailing the main plot, a risk if the original series is still ongoing. An episodic series, like Star Trek: The Next Generation, doesn’t run that risk. RWBY, though, isn’t episodic. Each episode builds off the previous and towards the next. The separation is needed.
At the same time, the draw is Team RWBY. They’re the stars. The series is named after them. The need to appear. The cameos may or may not be enough, depending on the reader. However, by putting the focus on Team CFVY, the novel presents several new lenses to view Team RWBY. The setting allows for and has even presented other teams, such as Team JNPR. There is room for more teams. Team CFVY is believable as attendees at Beacon.
The writing is solid. EC Meyers presents the story with a light touch, making for a quick but deep read. He has the mix of action, drama, and comedy that RWBY has. Coco, Fox, Velvet, and Yastu may be a year older than Ruby, Weiss, Blake, and Yang, but they still have a lot to learn, especially from each other. There’s hints of what lies in the future for Team CFVY, but only if they can survive their challenges.
Taking an animated series and translating it to a text-based medium takes a deft touch. EC Meyers pulled off the trick by remembering the source and making sure that the characters fit in the setting. RWBY‘s first tie-in novel brings the setting to life, expanding it through the eyes of a new team.
Fast food is highly competitive. So many options for the person who just wants to have a quick, inexpensive meal. Each fast food chain has its own way of getting attention, from mascots to sponsorships to tie-ins to other mainstream media. Burger King had three XBox/XBox 360 video games. Arby’s has its anime-aware Twitter account. KFC produced a dating sim featuring the Colonel. McDonald’s has its ubiquitous nature. So what is a chain like Wendy’s supposed to do?
Would you believe a tabletop role-playing game?
Wendy’s made available a free RPG called Feast of Legends, where players are called by Queen Wendy, first of her name, breaker of fast food chains, defender of all things fresh, never frozen, ruler of the realm of Freshtovia since 1969, to defend the realm against the evils of the dark art of frozen beef and their practitioners. The land of Beef’s Keep have fractured over how to treat beef, with some siding with Creepingvale and the United Clown Nations and going with freezing.
Yes, the goal is to sell Wendy’s hamburgers and other foods with subtle and, at times, not so subtle jabs at the competition. Lurking beneath the marketing is a solid game mechanic that takes inspiration and cues from the various editions of Dungeons & Dragons since the turn of the millennium. The question becomes, can a fast food restaurant be adapted as a tabletop RPG?
Back a bit, I went through what is key for adapting a work to a tabletop RPG. The five points to watch for are:
1. Is there something for the players to do?
2. Can the players have the same impact on the setting as the main characters?
3. Does the plot of the original work allow for expansion?
4. Will the adapted game bring in something that a more generic game can’t?
5. Is the license available?
The last one is easy to answer. Wendy’s is the publisher, bypassing the need to get a license. Skips the middleman and gets the game out. The third question is the big one, though. The original has no plot. The original is a fast food restaurant. There is no plot, just a daily war between the folks behind the counter and the ravening mass of humanity determined to leave nothing in its wake but destruction, or, as they mass calls itself, customers. While the idea of playing the last stand of the unfortunates standing against the horde may be appealing, that’s not what Feast of Legends is about. It’s an epic fantasy based on the menu at Wendy’s. There’s going to be a lot of stretching of points here.
The RPG does give something for the players to do and not only are their characters having the same impact as the main ones, they are the leads. Queen Wendy needs brave souls to fight for Freshtovia, and given the number of competitors for the fast food dollar, there is room for expansion.
Mechanically, Feast of Legends is what is called a “fantasy heartbreaker“, a fantasy RPG that tries to be different from D&D but still relies heavily on the older game. What would be a liability, though, works in the favour of Feast. Leaning on what D&D has done makes it easier to get buy-in from players and an easier learning curve, even for rookies. This leaves room for developing the world itself, which is where Feast starts to shine.
Feast is a marketing tool. The game doesn’t shy away from that fact. Instead, it revels in it. Not only are the players working on Queen Wendy’s behalf, their opponents are from the competing fast food restaurants. The classes are reskinned as Orders, each one named after different parts of the menu, such as Order of the Beef, Order of the Chicken, and Order of the Sides. Each Order has its own sub-Order, named after specific items on the menu. There are special abilities that each Order gets, but, broadly speaking, the Order of the Chicken is the magical class, Order of the Beef the fighter class, and Order of the Sides the roguish class with a touch of magic.
The mechanics take advantage of being menu items. To encourage the players to eat off the Wendy’s menu, there are mechanical advantages depending on what’s being consumed. An added benefit is if the item being eaten matches the name of the character’s order, the player gets advantage on every roll made that night, rolling two twenty-sided dice and taking the better result. If a player decides to eat from a competitor, then woe be on the character as penalties apply. The worst may be from eating gas station food, a -2 to Intelligence all night.
The world of Beef’s Keep includes a map. Keeping with the hamburger theme, there are two mountain ranges, Top Bun Mountains and Bottom Bun Mountains. Freshtovia, Creepingvale, and the United Clown Nations aren’t the only realms; there’s also The Box, the Twin Cities of Carl, and the Temple of Panda. Other named features include Lake John Silver and Roast Beach. The greatest threat comes from the Deep Freeze, home of the Ice Jester and his United Clown Nations. The adventure that comes with the game has the players take on the Jester and his minions, Grumble, the Beef Burgler, and the Fry Fiends, to protect Freshtovia from being flash frozen.
The setting is very tongue-in-cheek, poking fun at Wendy’s competition. The game is not meant to be taken seriously, though the work that went into it was serious. The goal of the game is fun. There’s room to explore beyond the adventure. After all, Creepingvale is nearby with its creepy king with the paper crown, waiting to sneak his minions up to the border of Freshtovia when no one is looking.
Feast of Legends is a very loose adaptation of the Wendy’s menu and chain. As a tabletop RPG, there’s a few gaps, but not many. The artwork is on par with the larger RPG publishers. As an adaptation, well, it exists for marketing purposes, but there is a sense of fun that went into the game. Mechanically, the game is sound, and emphasizes the message the publisher wants to get across, “Eat at Wendy’s”. For its price, the game is far better than it has a right to be, but Wendy’s wanted something memorable for its audacity, not its drawbacks. The creators hit the right balance between game and marketing, making something that can be played and that people will want to try out.