Audience acceptance of adaptations can be finicky. Everything can be set up just so but if something is off, the audience is thrown. On the flip side of that, an adaptation can get a lot wrong, but if it gets certain details right, the audience will just go along for the ride. Casting plays a role in this. Adaptations that audiences weren’t sure about did well when certain actors were announced. Likewise, fans have become divided when their dream casting didn’t happen.
With books, the goal is to find actors who can pass for how the characters are described. The author may or may not have a specific actor in mind when creating a character. Fans may pick up on the description and figure out who the author was using as a reference. Other works, the author may not have anyone particular in mind. In this case, the casting director should be aware of the characters’ general appearance. Some works make the casting work harder, particularly those with a young cast that grows over the series of novels. Since the appearances are all in the description, it shouldn’t be difficult to get close. Mind, some cases are harder than others; Harry Dresden, being canonically six-foot-nine, has a limited pool of actors to work from. The adaptation went with six-foot-four Paul Blackthorne as Dresden, then used camera angles as needed to emphasize his height.
The Harry Potter books make for an interesting case with child actors. The initial casting of Harry, Hermione, and Ron worked; the young actors resembled their character’s description from Harry Potter and the Philosopher’s Stone. However, each book ages the characters one year. It is hard to tell what a child actor will look like in a decade. With the Harry Potter movies, Daniel Radcliffe, Emma Watson, and Rupert Grint grew with the roles, but that isn’t a guarantee.
On the flip side, casting for the Fifty Shades of Grey adaptation caused a rift among fans. While the films went with Dakota Fanning and Jamie Dornan as the leads, fans wanted Alexis Bledel and Matt Bomer instead, going so far to start a petition to have the cast changed. The adaptation did well in theatres, though the backlash against the cast may have meant the film under performed.
More visual media provide a definite base to begin casting from. Not every role is locked into a specific look, just a general appearance. However, certain types of works become iconic. Animation is one of those. The art shows the character, from general appearance to mannerisms. Even comic books have distinctive characters, particularly the costumes. In these cases, ignoring the iconic looks may cause problems. Audiences, though, are aware of the restrictions and can adjust their perceptions while watching the adaptation. Some notable exception have come up, making for pleasant additions to their adaptations.
The 2002 Scooby-Doo movie did well at the box office, thanks to its star power. Matthew Lillard, though, deserves special mention. As Shaggy, Lillard managed to channel Casey Kasem’s portrayal, getting the voice right. Adding to his performance, he managed to get Shaggy’s unique walk. Of all the cast, Lillard was his role the most. In fact, Lillard has since taken over as the voice of Shaggy after Kasem passed away in 2014.
In a case of where getting the casting right would make or break a film, Karl Urban as Judge Dredd in the 2012 Dredd. Urban insisted that Dredd’s face would never be seen, correcting a major issue with the 1995 Judge Dredd with Sylvester Stallone. The one time Dredd is seen without his helmet, he’s in shadow, with no facial features showing. Urban became Dredd for the film, and while the film wasn’t as successful at the box office, it became an instant cult classic thanks to the portrayal.
Sometimes, the announcement of a casting choice can get an audience on board, even if there were reservations before. Michael Bay’s Transformers was seeing fan pushback on the idea of a live-action adaptation. Then the studio announced that the voice of Optimus Prime was cast – Peter Cullen would be reprising the role that was his when the cartoon first appeared in 1984. Fan reception changed, and the movie, while still having problems, succeeded well enough to have three sequels.
When it comes to adapting a live-action work, the limitations are obvious. Unless an actor has a child that looks much alike, and there are some who do, the adaptation will have to go with best fit. The appearance may not be important; instead, the portrayal is critical. The original actors will have set the characters; the new cast will have to adjust to expectations. Karl Urban once again shows how it’s done as Doctor Leonard “Bones” McCoy in the 2009 Star Trek reboot. While Urban doen’t look like DeForest Kelly, he once again channeled the character. Urban’s co-star, Zachary Quinto, had an added difficulty. Unlike the rest of the cast, Quinto had one of the original cast of Star Trek, Leonard Nimoy, playing the older version of his character, Spock. Audiences could compare the two directly. Helping, though, was all the character development Spock had gone through in the movies. Quinto’s Spock was the younger version, Nimoy the mature. The result, though, was that Quinto held his own.
Casting is important. Getting the right actor for a role is key, for original works and adaptations. With adaptations, getting fans on board means getting someone who can be the character. When that happens, the adaptation grows beyond expectations.
The problem with copying a copy is image degradation – finer details are lost thanks to the resolution of the copier. When the image is simple, such as words in a sans-serif font or stick figures with thick lines, the losses are minimal and the details are easily seen. With an intricate painting with precise colours, the loss of detail hurts the copy. This tends to hold with adaptations.
It’s not that the adaptations of adaptations are bad. Many are acclaimed, including shows like M*A*S*H, which was based on the movie of the book, and the 1959 Ben Hur, a remake of the 1925 silent film adaptation Ben Hur: A Tale of the Christ which itself was based on the novel of the same name. However, each step away from the original brought on changes. Robert Hooker’s MASH: A Novel of Three Army Doctors focused on the hijinks of the surgeons and nurses of the 4077. The movie built on it but added an anti-war angle, which was continued into the TV series, which then added more serious elements. The TV series may have had hijinks, but some of the practical jokes were done to keep sanity and the humour was kept out of the operating room.
What happens is that, unless the crew making the new adaptation takes a look at the original, they won’t know what needed to be removed to for the new format. If the crew is only familiar with the first adaptation of a work, there may be a wealth of detail they are unaware of. For example, if a studio decided to make a Harry Potter TV series based on the movies instead of JK Rowling’s books, key details will be lost, such as the importance of Neville Longbottom, who will lead the resistance at Hogwart’s in Year 7. Neville was critically ignored in the early movies because the studio wasn’t aware of what he would do later in the novels.
Yet, as mentioned above, adaptations of adaptations can stand on their own. The 1931 Frankenstein may be the definitive version with Karloff’s childlike monster, but the film owed more to the various plays that were written based on the original work than on Mary Shelley’s story. The M*A*S*H TV series won numerous awards over its eleven seasons. The 1959 Ben Hur was the most popular movie in its year of release. Just as adaptations aren’t necessarily bad, adaptations of adaptations aren’t necessarily bad. Comparing them to the original means following through the generations to see what went missing and why.
Part of the problem is that there are times that an adaptation becomes the definitive version of a work, despite the presence of the original. Movies like 1939’s The Wizard of Oz and TV series like Buffy the Vampire Slayer and Stargate SG-1 have surplassed their original works. With The Wizard of Oz, adaptations including The Wiz, with Diana Ross and Michael Jackson, and Muppets Wizard of Oz build off the movie, not L. Frank Baum’s original novel. The popularity of Buffy and SG-1 means that a remake of either, which has been suggested for both, needs to take into account the events in the TV series.
Despite the the loss of details from original works, adaptations of adaptations appear to be able to fill in the blanks, adding instead of removing. What helps is the original fading into the background. A more obscure original work leave both the adaptation and the adaptation of the adaptation wriggle room to make changes. The hypothetical Harry Potter TV series doesn’t have that wriggle room, while the M*A*S*H TV series needed that space to allow the characters to develop. The Harry Potter novels are still too popular to ignore outright.
Adaptations of adaptations will happen. Movies get remade. TV series get rebooted. It’s the nature of the beast. Details can get lost. Yet, it is possible for the second generation adaptation to surpass its precursors. It takes work, but the results are worth it.
After analysing a number of adaptations over the past few years, it’s nigh time to examine how the different sources of material affects how a work is adapted. The History of Adaptations series helped show the different sources that led to popular works, with other works being reviewed expanding the list.
Literary sources cover a wide range, from novels to short stories to plays to poems. Each source has its own challenges for adaptations. Novels, being a longer form, tend to lose details when adapted as films. A series of novels adapted to film can lose critical scenes, especially if the adaptation begins before the last as happened with the Harry Potter series. Television may be the better format for novels; while individual episodes are shorter than a film’s run time, a full season gives more time to delve into the work. With the today’s choices for television going far beyond the three-channel universe, a traditional 22 episode season isn’t needed. Mini-series can take as long as needed. One other means to adapt a novel is to just use the characters and create new situations, such as happened with The Dresden Files. The benefit of novels is that their popularity is easy to track. The New York Times‘ best sellers lists, while flawed still provide studios an idea of how well a title is selling. A novel that makes headlines because of fan enthusiasm makes the choice to adapt it easy.
At the other end of length, short stories may not have enough material to fill a movie’s runtime. Studios would have to extrapolate and expand from the events in the story, sometimes to the point where the film could have been its own work. A television series would not work, unless the idea is to keep the characters in further situations. However, an anthology series could take the story and adapt it. The Twilight Zone did this throughout its run, with episodes like “Steel” and “An Occurance at Owl Creek Bridge” being typical.
Plays don’t have the problem of having too much or too little story when it comes to being adapted as a film. A typical play is performed in about the same time as a film, possibly a little longer. The script is already written; all the director needs to do is remember that the fourth wall is now the camera’s lens instead of the audience. Plays don’t work out as well for television; length is the limiting factor.
Poems and songs do get adapted, though not to the same degree as other literary sources. The poem or song needs to be narrative, providing or at least implying a plot of some sort. “Harper Valley PTA” may be the best example, having been made into a movie that was then adapted as a TV series. The song provided the basis for the plots in both. Popular songs are easy to track, through Top 40 lists and YouTube hits.
Comics are a popular source for adaptations today. The bright costumes, the spectacle of superheroes fighting supervillains, and the almost black-and-white morality of pulp western serials are a lure for filmmakers. Yet, as a serialized means of storytelling, a comics adaptation could easily find a home on television. The plots are already storyboarded, though only Scott Pilgrim vs the World took advantage of that. Right now, the looming problem is audience burnout. At some point, audiences will want something different, but not too different. Yet, comics cover a wide range, something Marvel Studios has been exploiting. Each of the Marvel movies has been superheroes crossed with something else, from technothriller (Iron Man) to heist movie (Ant Man) to romantic comedy (Deadpool). The variety available in comics, not just the superhero titles, makes the medium ripe for the picking. Add in foreign titles, such as manga, and the surface has barely been scratched.
Television looks like it could make the jump to the silver screen. There have been attempts. The problem is the differences in running times. A TV episode today can run either 22 or 45 minutes, with breaks for ads. A full season can each 22 episodes. Neither fit well into a 2 to 2.5 hour film. Expanding an episode is similar to expanding a short story; much more needs to be added. Age of the work is another matter. Some series, like Entourage, have a goal to end with a cinematic release. Other series may have just enough popularity to risk trying a movie, like Firefly and Veronica Mars. The end result may be true to the TV show, but may not get the critical mass needed for an audience. Older series have another issue; while it may have been popular in its day, a TV series may not be well known to today’s audience. The Beverly Hillbillies, while almost note perfect as an adaptation, didn’t have the name recognition needed to get people out to it. Remaking and rebooting a TV series can work, though. Star Trek returned as Star Trek: The Next Generation to a much larger fanbase than the original series had when it first aired. The new Battlestar Galactica lasted longer than the original, providing a different look at the ragtag fleet searching for Earth.
Film remakes are also popular today. There appears to be a roughly thirty to forty year gap between originals and remakes. Take a look at King Kong; ignoring sequels, after the giant ape’s first appearance in 1933, the movie was remade in 1976 and 2005. With home video tape players and, later, DVD and Blu-Ray players along with specialty movie cable channels and streaming services, this gap may need to grow. The availability of older movies in homes grew tremendously in the Eighties. While the 1959 Ben Hur didn’t need to compete with the first adaptation, a remake of Raiders of the Lost Ark has the original available and in many home movie libraries. Adapting a movie to a TV series means further exploration of the film. M*A*S*H and Stargate SG-1 are arguably the most successful film-to-TV adaptations, both having run ten years and are both still available in syndication and on DVD. Not every movie can make the jump to television; the film needs to leave room for further stories featuring the characters.
Video games have had a rough time in adaptation. The early video game movies were either poorly done or completely missed the mark; Super Mario Bros illustrates the latter well. Video games turned out to have similar problems as literary sources. Early games, especially arcade games, had just enough plot to lure players before letting them button mash. similar to the problem of adapting a short story. Later video games, especially once home consoles had the ability to save games in progress, provided for a longer story, requiring several hours of game play. Parasite Eve‘s ten to twenty hours for completion is on the short side. What some adaptations have done is provide extra information for players, either what happened prior to the game or what happened after. Animated adaptations, most in the form of a cartoon like Super Mario Bros Super Show, have been more successful. In most cases, the cartoon just takes the characters and some of the game play and create new stories around them.
Other games, such as boardgames and tabletop RPGs, see similar problems to video games with added layers of abstraction. Clue may have been the best adaptation of a boardgame; the game itself is a murder mystery with a cast of investigators and one murderer, ideal for translating to the big screen. Battleship, on the other hand, tried to incorporate elements from the game but there wasn’t much to bring in, resulting in a mess of a movie. With tabletop RPGs, the problem is that, while there may be an idea of what game play looks like, the game itself is social. Players create their own characters and storylines. Studios are competing with the imagination of the players. Tabletop RPGs are also a niche market; very few games get beyond specialty stores and into book stores.
Toys may have had the best success rate of all sources mentioned here. Most adaptations of toys started as a way to market the toy itself. However, to keep the audience watching, story and character development happened. Cartoons like Transformers, Jem and the Holograms, G.I. Joe, and My Little Pony: Friendship is Magic took the idea of the toy and expanded on it, creating settings and introducing characters. Not every adaptation succeeded; the live action Jem and the Holograms was pulled from theatres after two weeks. The problem studios need to watch out for is reaction by parental groups and popularity of the toy. Captain Power and the Soldiers of the Future ended on a heart wrenching note because while the series had an audience, the toyline did not. Even a mess of a movie, like Michael Bay’s Transformers, can still be a decent adaptation.
On side note, Bay’s Transformers didn’t have continuity issues. The Transformers series already had multiple continuities, with fans well aware that cinematic universes are a thing. Bay may have been well aware of the problems he was going to face and made the one move that brought Transformers fans on board – he brought in Peter Cullen as the voice of Optimus Prime. A loud movie with explosions featuring Autobots and Decepticons fighting kept the fans happy. Getting key details right can go a long way in making a good adaptation.
Not every adaptation is successful, and not every adaptation is accurate. The goal for studios is to overcome the challenges of the source material. There’s a change coming in how television is seen; once a vast wasteland catering to the lowest common denominator, TV is now exploring new ways its format can tell stories. Film, while still seen as the goal for adaptations, is becoming stale, mainly because of remakes, reboots, and other adaptations. The format of the original work may require a hard look at how it is adapted.
Adaptations will happen. It`s the nature of Hollywood. Audiences aren’t fleeing away yet, so there’s no reason not to adapt. However, if all that is done is adaptations, original sources get scarce. The easy ones are on the verge of being over done. A couple of news articles this past week show that there are studios looking beyond just remakes.
First, Amazon picked up Tales from the Loop to make an eight episode series. Tales from the Loop is a collection of paintings by Simon Stålenhag showing an alternate Sweden of the Eighties, one where the landscape includes kids and unusual machines and buildings, the latter two being part of a particle accelerator program. The original paintings were gathered into one book, which then spawned a tabletop RPG of the same name. The Kickstarter raised enough money to have an American Loop project added, resulting in more paintings by Stålenhag. It looks like Amazon is trying to cash in on Netflix’s Stranger Things, but the collection of paintings was done prior to that series.
The second announcement uses a more mainstream source. Lively McCabe Entertainment and Primary Wave licensed Plain White T’s “Hey There, Delilah” as the basis for a romantic dramedy to shop around to networks. The song is a hit and has been featured on several TV series since its first release in 2006. Music has been used before as a source, but typically for either episodes of TV series or as a movie. “Hey There, Delilah” does have characters – Delilah, a university student, and an unnamed singer-songwriter, using the song to stay close to her while on the otherside of the country. That might be enough to at least start the series.
Notably, neither announcement is for a movie. Both are TV series. Television, though, isn’t the wasteland it used to be. The competition for audiences goes beyond the three-channel, lowest common denominator and now includes specialty channels and streaming. The goal now is to attract an audience that has become finicky in what it wants. With Tales from the Loop, the short run will keep the series focused on the mixture of mundane and mysterious. With “Hey There Delilah”, audiences are familiar with the idea of romantic dramedies already; the song becomes the hook.
Are these two announcements the start of a new trend? That depends on their success. Television is tough these days. If Amazon can reproduce the immersive quality of Stålenhag’s paintings, Loop should raise a following. The dramedy of “Hey There, Delilah” may have it rougher, but if the main characters are compelling, the series should have a few good seasons.
Remakes happen. The known element is popular with audiences, for all that people moan about the lack of original movies. Lost in Translation has looked at the problems different sources have when being translated to film, but remaking a movie has its own issues. For most genres, it’s not a problem. People will enjoy the same story over and over, whatever the format. For horror and mystery, there’s a problem.
Horror and mystery rely on tension and the unknown. In horror, it’s a question of when something happens, with setting, lighting, and music the only cues. Mysteries rely on solving the puzzle, following clues to the end. In both genres, knowing the end result takes away from the suspense. The remake of The Evil Dead took the same situation – a cabin in the middle of the woods and a group of young adults – and, while having similar beats to the original, added its own twists so that audiences couldn’t rely on their knowledge of the older movie.
Before the Eighties, most older films could be found either in repertory theatres or on television, either late night or weekend mornings. With the typical time between original movie and a remake being about thirty years or so, a new generation of audience could grow up without having seen the source. The Eighties, though, were when the VCR took off with hardware and available movies coming down in cost to be practical for the home. Specialty cable stations added to the availability of older movies. Today, with DVDs and streaming, if a film exists, it can usually be found somewhere on demand. A movie from the Eighties, ie, thirty years ago, is still available to the next generation of audience. The twists and turns that made an original movie suspenseful now makes a remake predictable. Yet, people want the familiar. Directors of remakes are in a tough spot. The audience wants the remake to be faithful, but not too faithful.
Slasher films and monster movies have an out. Audiences are there to see the star – the slasher or the monster, different sides of the same coin – do what they do best, kill people. Few people watch a Godzilla movie to cheer the Japanese Self-Defense Force; they’re there to see Godzilla stomp through Tokyo. Toho has rebooted the series, but hasn’t really remade the original.
Another issue with horror remakes is that horror films tend to reflect the fears of the time they are made. Going back to Godzilla, the original film was made in response to the growing fears of atomic weapons, made in a country that had the first and only two atomic bombs dropped on it. Other fears that have shown up include machines turning on humanity (Maximum Overdrive, The Terminator), humanity’s interference with nature (The Thing, Sharktopus), loss of identity (The Fly, Star Trek: The Next Generation‘s Borg), the faceless other (zombie films), and the seductive other (vampire movies). While some of those fears are part of being human, others change as understanding is gained and political winds blow.
Mysteries may not rely on the fear of the day, but they do rely on the puzzle. With information at the audience’s fingertips today, it’d be easy to do a quick search to find out whodunit. Adapting a mystery from literature doesn’t quite have the same problem; the audience is there to see a story they enjoyed on screen, not solve the puzzle. Remaking a mystery, though, needs to create new twists to keep the audience on its toes. There are exceptions, such as Columbo where the draw is to see how the detective solves the murder, but most mysteries rely on not knowing who the killer is until the reveal. Even the live action Scooby-Doo, while still using the tropes of the cartoon including having the monster really be someone the kids have met, created its own plot instead of using one of the animated episodes.
There are ways around the problem. The first is to make the new movie a reboot, picking up where the previous film left off. The TV series Ash vs Evil Dead is a continuation of the original The Evil Dead with Ash getting into more trouble. It’s easier with slasher films and monster movies; the star is the attraction, so even with new casting, as long as the main character acts in the expected way, the audience is satisfied. Mysteries may have a harder time, depending on how much the original actor was tied to the character. Peter Falk made Columbo his character; it’ll be some time before an audience will accept a newcomer to the role. However, other characters, like Sherlock Holmes, have been portrayed by a large number of different actors.
The key in any remake is to provide the audience what they expect. With horror, the expectation is suspense and scares; with mysteries, it’s a whodunit. The characters in the remake should behave like they did in the original, even if the plot has changed. Shaggy shouldn’t sound like an Oxford scholar and Ash Williams shouldn’t be the luckiest man alive. Get these details correct, and the audience won’t mind changes to the plot.
DC Comics has its triumvirate – Superman, Batman, and Wonder Woman. Superman has had many adaptations on radio, television, and film, the latter two both live action and animated. Batman hasn’t had as many over the character’s existence, but has picked up on the number of film adaptations over the past two decades. Wonder Woman, not so much. The character had her own TV series in the Seventies and has appeared in the various DC-based cartoons featuring a full team of heroes, but her solo appearances are lacking compared to the other two in the Big Three.
Created by William Moulton Marston, who also developed the lie detector, Wonder Woman was to offset the more violent titles. Instead of beating her opponents into defeat, she’d use the power of love to change their ways, using her version of the lie detector, the Lasso of Truth, to rehabilitate them. Since her debut in 1941, her approach has changed, becoming an Amazon warrior, willing to take the steps that Superman and Batman would not.
Over the past ten years, DC’s domination of superhero moves have waned as Marvel Studios finally figured out how to make interesting movies. Marvel’s approach to The Avengers movies forced DC to accelerate their Justice League titles. The problem that Warner has right now, though, is that all of the DC-based movies look like the Batman films. While that approach works for the character*, it didn’t with Man of Steel or Batman vs Superman, turning both into colourless messes.
After a few fits and starts, Warner finally had a Wonder Woman movie released in 2017. Directed by Patty Jenkins, the film was the top grossing superhero film for the year and finished behind Star Wars: The Last Jedi and the live-action Beauty and the Beast overall. Even Justice League only wound up tenth. Turns out, representation is key. Wonder Woman is a feminist icon; the character is the best known superheroine, able to bring in an audience that normally wouldn’t consider a capes-and-spandex movie.
The movie opens briefly in the present with a voice over narration by Diana (Gal Gadot) about the problems of the world. A Wayne Foundation armoured truck delivers a briefcase to her. Inside are a photo of Wonder Woman standing with several men in a wartorn town and a note, triggering a flashback to Diana’s days as a child on Themiscyra. Diana is the only child (played by Lilly Aspell) among the Amazons, having been fashioned by clay by her mother, Hippolyta (Connie Nielsen), and has no mind for studies, instead wanting to watch the Amazons train. While the Amazons are hidden, they are prepared for the day when Ares tries to destroy mankind and the world again. To prevent that end, Zeus left a weapon capable of killing a god on the island.
As Diana grows older (now played by Emily Carey), she convinces her mother to let her train. Diana’s aunt, Antiope (Robin Wright) pushes her past her limits, working the girl to be the best she can. As a full grown woman, Diana is capable of standing her own against several Amazons at once, but when Antiope pushes to far, something inside Diana pushes back, sending Antiope flying. Diana walks away to brood over what happened. As she does so, a German plane crashes off the coast.
Diana rescues the young pilot, unaware that a German warship has sent several boats to retrieve him. The Germans pierce through the veil that surrounds Themiscyra and land on the beaches. The Amazons fight the invasion, but swords, spears, and arrows can only do so much against trained soldiers with rifles. The Amazons win, but at a cost.
The young pilot is interrogated with the Lasso of Hestia, compelling him to give his name, Steve Trevor (Chris Pine), and his mission, an American officer working for British intelligence as a spy. He discovered German General Ludendorf (Danny Huston) and Dr. Isabella Maru (Elena Anaya) in the Ottoman Empire creating new weapons, including poison gas, to fight the Allies in the Great War. Diana insists on going off to fight, suspecting Ares behind the war, but her mother denies her. Undaunted, Diana breaks into the tower holding the god-killer sword. She takes it, the Lasso of Hestia, a shield, and the costume. Dressed and armed, she takes Steve to a small harbour. Her mother arrives, not to stop her, but to say goodbye, giving Diana Entiope’s circlet to wear. The parting is bittersweet.
London is a confusing whirlwind for Diana. So many new sights, sounds, and smells. Steve takes her to get appropriate clothes, with the help of his secretary, Etta Candy (Lucy Davis). After a few hours and many outfits tried, Diana gets an outfit that’s slightly less conspicuous. Leaving the store, Steve and Diana are followed by German spies. They confront the Germans in an alley, where Diana shows how effective she can be.
At Allied HQ, Steve gives over Dr. Maru’s notebook. Diana is able to decrypt it, understanding the languages used. However, she’s learning that in man’s world, women aren’t listened to. Diana goes off on the assembled generals, who have denied Steve’s request to track the General to Belgium. Steve pulls her out, explaining that he is going anyway, only convincing her after using the Lasso on himself. He makes a stop to pick up reinforcements, con man Sameer (Saïd Taghmaoui), marksman Charlie (Ewen Bremner), and smuggler The Chief (Eugene Brave Rock).
On the way to find Ludendorf, Diana leads an impromtu charge through No Man’s Land, clearing a path for the British troops to follow while reducing the German defences. She continues through to liberate the village of Veld, with assistance from Steve and his men. Diana is getting a harsh lesson in modern warfare, seeing the damage wrought to people and their lives.
The team tracks Ludendorf to German High Command. The General, opposed to the Armistice, had killed the rest of the Command with his new gas. The gathering at High Command is a show, one put on to demonstrate the new weapon by using Veld. Angered, Diana finds her own way into the aerodrome where Ludendorf is stockpiling the gas and begins her attack. The final battle of the film is one for Diana’s heart.
There were changes made to the character as created in 1941. The biggest is moving the date of Diana’s first appearance in the setting. When Wonder Woman was first published, World War II was an ongoing war, appearing in newspaper headlines daily. The US hadn’t yet formally joined the war, but was supplying the Allies supplies while trying to appear neutral. Comics of the time gained a secondary purpose, propaganda, so naturally, Wonder Woman fought Nazis. With the war now part of history and using Ares as the film’s villain, moving the setting to World War I made sense. World War I, also known as the Great War and the War to End All Wars, saw casualties in the millions, saw technological advancements that outstripped defenses, and saw an entire generation reduced in four years. Showing Ares having a hand in creating that War works in the context of the film. The movie didn’t show all the horrors of the war, but did show enough to give the audience an idea of the nature of warfare.
Gal Gadot as Diana worked well. She looks like the character, which is critical when adapting from a comic book. Appearances are everything. There were a few times in the film where Gadot’s appearance called back to Lynda Carter’s turn as Wonder Woman in the Seventies. While the movie was far more serious than the show, the portrayals aren’t that much different. Both find that they are fighting with the Power of Love. Chris Pine isn’t necessarily Lyle Waggoner, but he does bring charm to the role of Steve Trevor. Lucy Davis’ Etta Candy also harkens back to the comic and the first season of the TV series. Etta is there as contrast to Diana, but even she has her moments of heroism. Moving the time didn’t change the characters; they adapted well.
Wonder Woman is an origins story. Unlike Batman and Superman, Diana’s origins don’t leave her passive. She defies her mother and trains then leaves Themiscyra. Diana explores the world of men and carves out her piece of it. She is a warrior, but one who fights for love. The movie explores how she came to that decision.
The movie managed to add something that, until then, was missing from the DC adaptations – humour. The levity came from character moments, usually between Diana and Steve, typically centering around the different cultural attitudes about sex. Diana is well read about the subject and the Amazons are open and honest with each other. Steve, though, is coming from an American upbringing that has far more hangups than today.
Wonder Woman despite the changes, does keep to the nature of the character and the comics. Changes that were made help with the story without really taking away from the character. Diana is still Diana, warrior and defender of mankind. She is still recognizable on the screen in costume or regular clothes.
* To quote Batman from The LEGO Movie, “I only use black. And sometimes very, very dark gray.“
When a movie gets popular, a bandwagon forms to get in on the action. Right now, superheroes, fantasy, and urban fantasy are popular. Look at the popular films of 2017; of the top ten, six are superhero movies. The Lord of the Rings films showed there was an audience for fantasy, leading to novels like A Game of Thrones and Elfstones of Shannara being adapted for television. Supernatural is still going into its 13th season, not to mention all the vampire TV series that have come and gone over the past decade.
What if one movie could tie all three together, riding on the coat tails of all that has come before? In 2011, The Asylum rose to the challenge with the SyFy feature, The Almighty Thor. As a character, Thor is very much open source. Myths and legends are well out of copyright and Marvel can trademark the appearance of characters based on them but not necessarily the name. However, The Mighty Thor is right out; hence, The Almighty Thor.
The movie itself features Ragnarok, the final battle between good and evil where evil is destined to win, causing the worlds to end. Midgard – Earth – would suffer the most in this battle. Loki, played by Richard Grieco, in is home in Niflheim, chants the incantation to start the battle, then heads out to wreak havoc on Valhalla with his giant dog demons. Odin, played by Kevin Nash, senses that something is up and heads off to investigate with his sons, Baldir (Jess Allen) and Thor (Cody Deal). Thor follows Odin into the lair of the Norns (Nicole Fox, Leslea Fisher, Lauren Halperin) who foresee the end of the worlds. Thor, though, defies Fate, setting up the rest of the movie.
Odin faces off against Loki, trying to stave off Ragnarok. Loki, being a trickster, gets Odin to kill Baldir, then stabs Odin in the back. Loki needs the Hammer of Invincibility. With his dying strength, Odin sends the Hammer back to its origins, the Tree of Life, Yggdrasil. Odin’s dying words to Thor are to retrieve the Hammer before Loki can. However, Loki isn’t far and attacks Thor. The surviving son of Odin isn’t adept with weapons yet, stinging more with his words than his sword. Just as Loki is about to strike a killing blow, help appears in the form of Jarnassa (Patricia Valesquez). She strikes Loki from behind, then pulls Thor away.
The chase is on! Jarnassa pulls Thor through several gateways to escape Loki, eventually ending up in Los Angeles. She manages to get some training in for Thor, but he is stubborn and wants revenge on Loki for what he’s done. With Ragnarok in progress, the goal is to get to the Tree of Life to save Midgard and its humans while outrunning Loki and his giant dog-demons…Thor and Jarnassa reach the Tree of Life, where he recovers the Hammer. Jarnassa wants to hide Thor away for as long as it takes to train him. Thor insists on stopping Loki now.
Thor wins the argument, but in his fight against Loki, loses the Hammer to him. Loki is able to get to the Tree of Life and kill it, ensuring Ragnarok happens. Thor is sent to Niflheim. Instead of perishing, Thor figures out how to use his godly abilities and creates a new Hammer of Invicibility. He climbs out of Niflheim back to Midgard and fights Loki one more time, hammer to hammer. Thor the Warrior emerges and defeats Loki, then heads to the Tree of Life to revive it, ending Ragnarok. To ensure that the end of Midgard will never happen, Thor returns to the Norns and destroys their loom and tapestries, letting humans decide what their fate will be.
Putting aside other problems the movie has, and it has many, it plays fast and loose with Norse mythology. Baldir is fated to die by being hit by mistletoe, not Odin’s own spear. Thor and Loki are brothers, both sons of Odin. But when it comes to getting something done quick and cheap, details are one of the first corners cut. The Almighty Thor borrows from myth and legend in its own way, becoming less a product of the source and more its own movie.
One of the main features of a superhero is the bright costume. Sure, there are superheroes who work in black or really dark grey, but the vast majority are in primary colours. Often, the costume will look like it was painted on, emphasizing the hero’s physique. Because comics are drawn, liberties can be taken with things like physics, so some costumes may be almost impossible to recreate in real life.
With comics being the popular source of adaptations today, studios have to figure out the almost impossible. Over the past few weeks, Lost in Translation has looked at a number of comic books adapted to a new medium, plus has reviewed others in the past. Josie and the Pussycats and Kingsman: The Secret Service get a pass here. The most unusual item the Pussycats wear are for on stage and is still in the realm of possibility. The wardrobe in Kingsman is based on high priced but still existing apparel found on London’s High Street.
Arrow, though, deserves a look. In the comics, the Green Arrow has worn a variant of a Robin Hood costume through most of his appearances. In the TV series, the goal was to create a costume that star Stephen Amell could wear and move in, going with a hooded cloak over dark green clothes. The costume is close to what the Green Arrow wears in the comics, and the producers are aiming at showing Oliver Queen becoming the hero.
Supergirl, on the other hand, starts with Kara Danvers embracing her Kryptonian heritage and catching a plane. The show is also lighter than Arrow; Kara is adorkable. So, hiding her costume away isn’t going to work. Fortunately for the producers, Supergirl has a number of costumes to choose from. On the show, the costume is a melding of a number of outfits seen in the comics, allowing Kara to have her own look while hinting at being Superman’s cousin. And Supergirl isn’t the only character with a costume from the comics. The Martian Manhunter in his normal guise is accurate to his appearances in the pages of DC Comics.
Both TV series can take advantage in advances in fabric thanks to man-made fibres. Older movies and TV series didn’t have the breakthroughs and it shows. The Batman serials of the mid- to late-Forties, having the added limitation of a low budget, tries to match the costumes from the comics, but between the war effort focusing on the needs of the military of both the US and the Allied Forces, the physique of the actors, and the lack of techniques, the result is “close enough but not really.” The costume looks like Batman’s, but it’s not the skintight version. The 1966 Batman with Adam West does have access to satin and nylon, but its approach to the character – played dead straight by West despite all the camp around him – meant that the more down-to-earth portrayal that Neal Adams and Denny O’Neil had wasn’t going to be seen. Adding to the fun, Cesar Romero didn’t want to shave his trademark mustache, so the Joker’s whiteface was placed on top. Yet, it worked for the series. The costumes did reflect what the characters wore, though.
The 1989 Batman by Tim Burton introduced a new twist – Batman’s costume was an armoured suit. All practical, the rubber suit allowed Michael Keaton to move, but not as acrobatically as in the comics. The change made some sense; Batman deals with people who shoot guns and he doesn’t have a power that will let him bounce bullets off his chest. His movement in the Burton film and subsequent sequels is more restricted. The costume looks right, compared to the Batman in the comics at the time, but the nature of the suit slows the actors down.
When practical effects won’t work, CGI comes into play. Over in the Marvel cinematic universe, characters that would be impossible to portray well have had their own movies. Marvel did try a practical effect for one of their characters in the past; Howard the Duck had many problems, and the appearance of the title character was one of the big ones. His appearance in the post-credits sequence of Guardians of the Galaxy is accurate. Guardians also gave audiences a proper Rocket and a proper Groot, two characters who would either be actors in costumes, puppets, or protrayed by a trained raccoon (in Rocket’s case) and a trained shrub (in Groot’s) before CGI.
Iron Man was the proof of concept. In the comics, Tony Stark has a number of Iron Man suits which he uses depending on mission requirements. The classic suit, the red and gold power armour, appeared in the first film and was as close as possible to being a recreation of the comic book version. Audiences accepted the premise of a comic book on screen. With Thor, the studio could build from the character’s appearance in the comics to present him on screen. Loki, when he appeared in costume, was resplendent in his green and gold. Marvel’s releases of today build from the comic books.
Marvel characters that appeared in films from studios other than Marvel Studios have had mixed success. The X-Men franchise, released via Fox, avoided using costumes, with an exception that will be named below. Instead, the films went with leather suits when the team broke into places. The Spider-Man franchise, even after the reboot, kept the costume best known to the general audience. However, the character’s 1977 TV series, The Amazing Spider-Man had problems; the suit didn’t quite work. Budget may have been the main problem there.
The comic book character who may have had his costume translate the best to film and television is the exception in the X-Men franchise. Deadpool went out of its way to make sure that the costumes were accurate. Colossus, being a CG character, had no problem with the transition. Deadpool’s, though, included having his eye coverings express his thoughts and emotions. Considering that his appearance in X-Men Origins: Wolverine completely missed the mark, the costume in Deadpool is a complete reversal and should be applauded.
Lost in Translation has taken a look at a number of tabletop role-playing games, the most recent being Tails of Equestria. In those reviews, the goal was to see how well the source material was adapted as a game. Today, the goal is to determine what would adapt well as a game.
Tabletop RPGs bring together a group on a regular basis to play, to socialize, and to relax. Existing settings helps reduce set up time. Settings based on existing works allow the players to get a good idea of what sort of play is expected in a game. What makes for a good source to be adapted? The big thing is playability. There needs to be something for the players to do in the game. The goal doesn’t have to be all combat all the time. Investigations, intrigue, and exploration are all viable options. The implication here is that there is more to the setting than what is shown in the original work; that the main characters aren’t the only movers and shakers.
Related to the above, can the players have an effect on the setting of the same importance as the main characters? Sure, only Luke Skywalker can destroy the first Death Star, but can players in a Star Wars setting aid the Rebellion in a way that is just as meaningful? The effect doesn’t have to be achieved in the first session; the goal of an entire Star Wars RPG campaign could be to bring down the Empire in a sector, with the end taking place at the same time as the Battle of Endor. Star Wars: Rogue One could easily be a campaign, getting the plans for the Death Star into the hands of Princess Leia. Without that, the Rebellion would be destroyed.
Next, does the plot of the original work allow for expansion? Some works come down to the actions of one character. A hypothetical The Last Starfighter RPG* has the problem of every starfighter pilot except Alex being killed by a Ko-Dan sneak attack. The movie doesn’t show what happens afterwards, but there isn’t much detail to the setting beyond that needed to drive the plot. Few players want to play Dead Pilot #10. Likewise, a Rumble in the Bronx RPG, based on the Jackie Chan movie, doesn’t work; Jackie’s character is the critical one in the story, and there isn’t a way to expand the cast to allow for player characters. However, a tabletop RPG based on the entire Jackie Chan movie catelogue can and has been done.
The game publisher has another issue unique to the industry. Will the adapted game bring in something that a more generic game can’t? The generic game doesn’t have to be as broad as Steve Jackson Games’ GURPS; there are games that handle just one genre, such as D&D with fantasy. The goal, though, is to have the adaptation represent the original far better than the broader games in the genre. Take Victory Games’ James Bond 007 Role Playing Game as an example. At the time, its competition included TSR’s Top Secret, Flying Buffalo’s Mercenaries, Spies, and Private Eyes, and Hero Games’ Danger International, but the game had the draw of 007 himself. The result was a game with mechanics that could be seen happening on screen without having to be excessively house ruled to be playable, a game that reflected the source well. That’s not to say that a broader game can’t be used to adapt a work. GURPS has had a number of licensed adaptations, including The Prisoner and Terry Pratchett’s Discworld series.
Of course, game publishers can’t just adapt a work at will. The owners of the originals want to be compensated. Thus, the big question, the one that can make or break an adaptation – is the license available and affordable. Game publishing is still a business. If a license costs more than the expected return on investment, then it’s not worth pursuing. Likewise, if a license just isn’t available, like with the Harry Potter series, then no amount of money is enough. The game just won’t exist legally, and few game publishers have the money to afford a lawyer to fend off the inevitable lawsuit that would occur by ignoring the licensing needs.
How does this work? Let’s take Star Trek, which has had a number of RPGs based om it, the most recent being published by Modiphius. The players do have something to do – they can be officers on board a Starfleet vessel exploring new worlds and new civilizations, going boldly where no one has gone before. As Starfleet officers, the players can make discoveries similar to the ones Kirk, Picard, and Janeway have. Star Trek: Voyager showed that there are ships in Starfleet not named Enterprise that also explore the unknown. Each of the Trek RPGs was designed with the setting in mind; while Traveller could be adapted to the setting, the various publishers have made an effort to keep to the feel of the franchise. As for the license, Modiphius is the current holder for the purposes of publishing a tabletop RPG.
A potential licensed RPG shoould have these questions in mind. Let’s use a hypothetical Reboot RPG, since it’s fresh in memory. Players would have a wide variety of things to do, from fighting viruses to winning games to dealing with or even being software pirates. If in a different system other than Mainframe, the players can have a similar impact to the main cast, the exception being the events in Daemon Rising, where it took a small handful of Mainframers and a friendly virus to stop Daemon. The plot in Reboot, especially once the ongoing one begins in season 2, still allows for players to do their own thing, even during Daemon Rising. The key to the mechanics will be to allow for the range of characters seen in the show; binomes like the Crimson Binome, Binky, and Algernon, sprites like Dot, Bob, and big and little Enzo, and even benign viruses. Devices like the Guardians’ key tools, like Glitch, and the Code Masters’ staff will need to be worked out. As it stands now, a superhero game may be the best “generic” system to emulate the series, but a game that can reflect Reboot specifically would be ideal. The only question is, is the license available to a publisher? That can only be found out by a potential designer.
Licensed tabletop RPGs have a tightrope to walk, They have to be true to the source material while still being playable. If done well, though, the game can introduce a new pastime to fans of the original and introduce gamers to a new work that they might not have heard of before.
* Note that FASA released a wargame based on The Last Starfighter, where one player took the forces of the Ko-Dan Empire and a second played the Star League. One of the scenarios in the game was the final battle from the movie, complete with rules for the Death Blossom.
Last week, during the analysis of the TV adaptation of The Dresden Files, I mentioned that pragmatism will play a factor in how a work gets adapted. There will be times when what the original work envisioned just cannot be translated over to a new medium, whether the cause is budget, technical limitations, or needs of the new medium. Pragmatism does not necessarily affect quality, provided that there’s effort put in to acknowledge not just the change but what was changed. The originals tend to be written works – novels, short stories, even comics – where there isn’t a limitation based on practicality. Words and pictures cost time and energy to create, but can go beyond earthly limitations.
Let’s start with budget, a big factor in making both movies and TV series. No studio has an unlimited source of cash and no movie has made an infinite amount of money. Budgets, through methods that seem like dark sorcery, are drawn up based on expected rates of return. Even then, there’s no guarantee of success. Big budget flops have occurred. Sometimes, the studio is just using the film for other reasons, as in the case of Alien From L.A., where the movie was meant to get money out of a country under international sanctions. Low budget works have to work around the restriction. The ITV Playhouse adaptation of “Casting the Runes” didn’t have the budget to show the demon or the climactic plane crash; instead, the teleplay relies on using the actors’ reactions to hint at what’s happening and getting the viewers’ imaginations to fill in the rest of the details. However, budget isn’t always a limiter in a production. Studios are aware of how much production elements cost and won’t try overextending capabilities.
Where a budget may allow for an effect, technical limitations may be the bigger restriction. The advent of computer graphics in special effects has reduced the difficulty of staging effects. However, CGI isn’t a cure-all. Practical effects and props are still more cost effective than computer generated objects and easier for actors to interact with. In books, literary or comic, if a creator wants a character to own something specific, there is nothing to prevent the object from existing in the work. A custom piece of jewellery, an unusual and impractical weapon, or, as seen in The Dresden Files, a battered Volkswagen Beetle can easily be added. On screen, it’s not as easy. Jewellery can be approximated, but an exact likeness may not be possible because of the materials used. On TV, Harry Dresden’s Blue Beetle was replaced with a war surplus Jeep; the latter being more readily available than the now collector piece VW Beetle. The key when working around technical limitations is to remember why the original object was chosen. The adapted piece of jewellery should reflect the heritage the original has, from age to design. With the TV version of Dresden, the Jeep was of similar vintage as the Beetle, old enough that its mechanics were simple enough to not be affected by Harry’s tech bane nature.
The needs of the new medium may cause changes that don’t make sense otherwise. Television and film are visual media, often not having a narrator. Even when there is a narrator, the insights provided are for what’s not shown, such as a character’s thoughts. In contrast, written works use words to paint scenes for the reader; the narrative carries the story. Whether the point of view is first person or third, the reader gets to see what the author wants to show. Film and TV default to third person, specifically, the cameras. Even DOOM, based on the first person video game, only had a short scene from that point of view. Audiences want to see the actors. And while writers can show what characters are thinking and feeling directly, on screen, the actors have to do the heavy lifting. In the Dresden books, Bob is a spirit in a skull with some limited ability to take over a cat’s body for short joyrides. On TV, though, a skull doesn’t do that much, and Bob would be, effectively, a disembodied voice. Giving Bob a body, though, allows the actors to play off each other, adding to the depth of the scene. Human actors are also far more convincing than cat actors, who may become difficult to work with when naptime hits.
Another restriction placed on an adaptation by the needs of the new medium is time. Books don’t have time limits; readers read at their own pace. As long as the reader enjoys the work, there isn’t a problem. Television and movies, though, do have time limits. With TV, a work has to fit a thirty- or sixty-minute time slot as a series or a two-hour slot if a mini-series of movie of the week, plus leave time for advertising within the slot. Theatrical films have a minimum running time of around eighty to ninety minutes, any shorter and audiences won’t bother, and seldom run longer than two and a half hours. Longer films have happened, but tend to be ones that will draw an audience because of the running time. The film adapations of Harry Potter and the Philosopher’s Stone, the first and shortest of the Potter novels, still had to lose scenes to fit the allowed time, which also took into account the young age of the likely audience. Even when spread across a full television season, details can be lost because there’s just not enough time to show everything in a novel.
Comic books run into similar. Unlike written novels, comics are a visual medium, but one with its own language. Comics are a series of panels, each one contributing to the story. Readers know how to fill in the details from one panel to another. Artists can compress time by showing a clock in two separate panels having a later time in the second. They can slow down time by repeating an image with minor changes between panels. Individual issues of a run may not fill the time of even a thirty-minute TV slot, but multi-part stories can work for feature film. The aesthetics of a comic book is difficult to pull off; Deadpool being a rare exception. A well done adaptation from a comic can be done well, but the studio involved cannot be lulled by the fact that comics and film are both visual. They have separate tropes, sometimes similar but not always.
Getting an adaptation perfect may not always be possible. The change in medium necessitates changes to the work. It’s in the how the change is done that will make the difference to an audience.