Giant monsters have existed in film ever since King Kong fell in love with Fay Wray in 1933. Japanese cinema has been the prime producer of giant monster, or kaiju media, from Godzilla in 1954. The Godzilla franchise has produced a rogues gallery of kaiju, including Mothra, Rodan, and King Ghidorah. Godzilla isn’t the only kaiju; Gamera has his own franchise and gallery of fellow kaiju. Other nations have tried making their own kaiju works; the 1961 Danish film Reptilicus is such an example. Giant robots are also a mainstay of Japanese media, through live action sentai works and anime. The mecha can range from large but still human scale, such as in Armored Troopers: VOTOMS and Bubblegum Crisis to towering units such as those from the Gundam franchise.
Naturally, works will inspire creators. Guillermo del Toro was inspired by the various kaiju and mecha productions, including Godzilla and Neon Genesis Evangelion, and HP Lovecraft’s At the Moutnains of Madness, leading to the 2013 film, Pacific Rim. The cast includes Charlie Hunnam as Raleigh Becket, Rinko Kikuchi as Mako Mori, Idris Elba as Marshal Stacker Pentecost, Charlie Day as Newt Geiszler, Ron Perlman as Hannibal Chau, and Burn Gorman as Dr. Hermann Gottlieb.
In the film, the Earth is under assault. Kaiju are coming through a breach in the the Pacific Ocean, wreaking havoc and destroying coastal cities. Conventional weapons are ineffective and the use of nuclear weapons would destroy more than just the kaiju. To combat the kaiju, giant mecha called jaegers were developed, capable of standing toe-to-toe with the monsters. However, the jaegers are too much for one pilot to handle. Two pilots must mesh in the drift, a merging of minds, and each handles one hemisphere. The nature of the drift means that a pair of pilots need to be close. One of the jaegers, a Mk III called Gipsy Danger, is piloted by brothers Yancy and Raleigh Becket and is dispatched to stop a Category-3 kaiju codenamed Knifehead from destroying Anchorage, Alaska. Gipsy Danger‘s victory is Pyrrhic; Knifehead is stopped, but Yancy is pulled out of the cockpit, leaving Raleigh to finish the fight on his own.
Five years later, and the battle isn’t going well. A new defense is in the works, known as the Life Wall. The idea is that with the Life Wall in place to stop the kaiju, the jaegers would no longer be needed. Raleigh, though, is already out of the service, his brother dead and Gipsy Danger too damaged. He’s now one of the labourers working on the Life Wall in Alaska. Before his latest shift begins, a military helicopter arrives with Marshal Pentecost. Pentecost has an offer for Raleigh, a return to action.
In the Shatterdome in Hong Kong, the last four jaegers are waiting for their standdown orders. Three have crews – Crimson Typhoon piloted by Chinese triplets, Cherno Alpha piloted by a husband and wife team, and Striker Eureka, piloted by father and son Herc and Chuck Hansen. The fourth, Gipsy Danger rebuilt, has no pilots but Pentecost is hoping that Raleigh can find a partner. After testing several potential partners, Raliegh chooses Mako Mori, a survivor of a kaiju attack on Tokyo.
The Shatterdome is also the home to kaiju researchers. One, Newt, has figured out a way to drift with the hindbrain of a kaiju. After a somewhat successful first drift, he discovers that the kaiju are planning on moving to Earth en masse, to destroy all life here and then to find a new home to invade. Pentecost is informed of the breakthrough and tells Newt to get in touch with Hannibal Chau, a black marketer dealing in kaiju organs and parts. It’s Chai that realizes the problem with Newt drifting with the kaiju brain; the kaiju have a hive mind. What Newt knows, every kaiju knows, including the plan to use a nuclear bomb to seal the bridge between the kaiju‘s world and Earth.
Two more kaiju attack, the target being Hong Kong. All four jaehers are sent to stop the Category-4s. Both Crimson Typhoon and Cherno Alpha are destroyed in the attack. Herc in Striker Eureka is injured, but the attack is stopped, with one kaiju laying dead in Hong Kong. Newt grabs the opportunity to get more information and, with Hermann as co-pilot, drifts into the the dead kaiju‘s hindbrain.
The plan to seal the bridge between worlds is still a go, though. Gipsy Danger and Striker Eureka are repaired and re-armed. Since Herc is out of commission, Pentecost steps up to co-pilot with Chuck Hansen. The Marshall had been a pilot of a Mk I jaeger, having been the one to stop the kaiju stomping through Tokyo. The two jaegers head out to sea, marching underwater to the breach. During the trip, Marshall and Newt return to the Shatterdome to pass along new information – the bridge won’t open unless there’s kaiju DNA.
Fortunately, a third kaiju attacks, a Category-5. Gipsy Danger barely survives, but with damage to oxygen tanks. Raleigh hooks his oxygen supply to Mako’s, then sends her up. He then pilots Gipsy Danger into the breach. Once through the dimensional barrier, Raleigh sets the time on the bomb, then escapes himself.
Pacific Rim delivers on the promise of giant robots fighting giant monsters. The effects show the mass of both, with plenty of collateral damage. Del Toro’s influences are obvious, but don’t get in the way of the story. Pacific Rim remembers that the key in a work featuring giant mecha is the characters. The audience is given a reason to root for the mecha over the kaiju. The worldbuilding is set up in the first fifteen minutes. Everything else is a visual feast with depth that one wouldn’t expect in a movie with giant robots and giant monsters.
Pacific Rim was popular enough to get a sequel, Pacific Rim: Uprising, and a mockbuster, Atlantic Rim. There was enough interest that Netflix produced an anime series, Pacific Rim: The Black in conjunction with Polygon Pictures and Legendary Television. The work began in 2018 with the series released in March 2021.
The series begins with Australia under attack by kaiju. The Pan Pacific Defense Corps, or PPDC, orders all coastal cities are evacuated and the inhabitants moved inland away from the Pacific Ocean. The last of the evacuees are students, including Taylor and Hailey Travis. Their parents, Ford and Brina, are jaeger pilots who are covering the evacuation; they also trigger The Black, a way to try to stop the kaiju from going beyond Australia. The bus with the last of the survivors is able to escape to a hidden base. Ford and Brina, though, need to leave to fight kaiju and find more survivors.
Five years later, Ford and Brina have not returned. The base has grown into a community, with farms to feed the inhabitants. Scouts are being sent out to various locations to look for other survivors. Taylor, though, isn’t one of them. He is still waiting for he and his sister’s parents. Hayley is the more adventurous one. She explores and during one of her explorations of the base, she finds a jaeger, Atlas Destroyer that had been left behind when the base was evacuated. Activating Atlas and its AI, Loa, Hayley begins a very quick training. The activation of the jaeger also summons Copperhead, a Category-4 kaiju. Copperhead destroys the settlement, leaving only Taylor and Hailey as the sole survivors. They only survived because they piloted Atlas to fight the kaiju, but the jaeger is set for training and is unarmed. The fight is a draw.
With no home, the siblings decide to look for their parents and begin a journey to Sydney. The trip is dangerous. A stop to get a new energy cell for Atlas leads to finding Boy in a lab in an abandoned PPDC facility. Hayley insists on rescuing him, breaking him out of the glass tube holding him. An encounter with more kaiju leads to meeting a black marketer, Shane, and his right hand woman, Mei. Shane has his own designs on Atlas, but his machinations leads to Mei questioning her own memories. Taylor and Hayley escape and continue on towards Sydney, with the threat of Shane behind them. The final battle against Copperhead reveals more secrets, ones that have no immediate answers. The season ends with a victory, a loss, more questions, and another group of humans watching the siblings. A second season has been announced.
Like the original film, the animated series has several themes. Some it shares with the original; including not letting the past hold you back. The series also introduces the idea that humanity can be more dangerous than the kaiju. The story in the series is also personal, like the original. While there are battles between Atlas Destroyer and kaiju, the characters are the ones driving the story.
Taylor and Hayley are young, and their inexperience does lead them to make rash decisions. Loa provides a sober second thought, sometimes through snark. The supporting cast is three-dimensional; their motives dictating their actions. Even Boy, whose secret is foreshadowed through the series, has an arc.
Overall, the series adds to Pacific Rim, expanding the world laid out in the film. Animation allows for a lighter budget, especially on a streaming service, which then provides for more time spent on exploring the world. Pacific Rim: The Black builds on what came before, leading to a fuller experience of Pacific Rim and the dangers of the kaiju.
Pacific Rim: The Black expands the setting, showing more of the world introduced in Pacific Rim and the effects of the kaiju invasion on people. The core characters are young, venturing out from their safe home into the wilds of Australia, already a dangerous place to wander in even before giant monsters are added. The series adds to the overall setting of the film, expanding it, adding another layer of worldbuilding on top of what the movie provided. The animation style may not work for everyone, but that’s true of all animation. The result is a series that is worth watching for Pacific Rim fans.
Five years ago, Lost in Translation reviewed the animated adaptation of Watership Down. The film’s limitation was length, unable to get everything in from the original novel by Richard Adams. The art was gorgeous and the film covered most of the beats.
Watership Down, of course, is the story about a group of rabbits who search for a new home after their original warren is destroyed by men. The journey is hazardous, with weather, predators, man, and other rabbits providing dangers along the way. Hazel, the rabbit who gets the survivors together, does get to found Watership Down, the new warren.
In 2018, Netflix and the BBC co-produced a mini-series based on the novel, using CG animation. The cast includes Ncholas Hoult as Fiver, James McAvoy as Hazel, John Boyega as Bigwig, Freddie Fox as Captain Holly, Olivia Colman as Strawberry, Gemma Arterton as Clover, Rosamund Pike as the Black Rabbit, Peter Kapaldi as Kehaar the seagull, and Ben Kingsley as General Woundwort. The four-part mini-series is CG animated, with the rabbits given details to tell them apart beyond just voice. As with the the 1978 animated adaptation and even the original novel, the mini-series is not for young children; Netflix shows the rating as TV-PG.
The four parts of the mini-series break down logically. “The Journey” covers Fiver’s visions of the old warren’s destruction, the escape by a handful of rabbits, their encounter with a warren that has forgotten the old ways, and the founding of Watership Down well away from man. “The Raid” picks up with the problem the new warren has, a lack of does, and the work done to rectify that; Hiver going off to rescue hutch rabbits from a farm and another group going to a large warren to see if any it can spare any does and even bucks, with both enterprises failing. “The Escape” picks up with Clover, Fiver, and Bigwig finding a wounded Hazel, and Bigwig going to the large warren to rescue the Watership Down rabbits from General Woundwort. “The Siege” ends the series with General Woundwort’s assault on Watership Down and the valiant defense by Hazel and his rabbits.
The first thing the audience sees is a CG field so real, it triggers hay fever attacks. The animation is lush, the rabbits detailed with expressive faces while still being rabbits. Members of the Owsla, like Captain Holly and Bigwig, and characters injured in the run of the story all have scars appear. General Woundwort shows a lifetime of battles on his body. Like the animation in the 1978 film, the mini-series’ is lush and adds to the tone of scenes.
Casting is also well done. Ben Kingsley when he phones in a performance is worth watching; he is not phoning in his performance as General Woundwort. He provides a menace to the character without having to yell. The rest of the characters are also well cast, with Boyega bringing out Bigwig’s hotheadedness, McAvoy shows Hazel’s growing weariness with life as chief rabbit, and Hoult brings out Fiver’s nervousness and hesitation. Capaldi’s Kehaar sounds like the brash seagull the character is.
With a combined runtime of 203 minutes, the mini-series has more time to delve into the rabbit culture, from their beliefs to their day-to-day lives. The result is a more intense story, with the fate of Watership Down and its inhabitants unknown to audiences who haven’t read the book. The mini-series does cover the novel, keeping the perspective to what the rabbits know of the world, just like the original. The worldview presented is from the rabbits.
In the end, the series adapts the original well. The quest of the surviving rabbits from Stableford to find a new home remains intact, the highs and the lows. Richard Adams’ tale makes the transition from print to television intact, with the characters unchanged. The cast, crew, and writing staff of the mini-series put in an effort to keep true to the original novel, and the results show it.
Hello! It has been a while. The reason will be after the review. Suffice to say, it’s been too long, but Lost In Translation is back.
The X-Men have been around a while. Originally created in 1963 by Jack Kirby and Stan Lee, the Children of the Atom consisted of Cyclops, Angel, Marvel Girl, Iceman, and Beast, with Professor X being the team’s mentor. The team evolved over time, with members coming and going along with the writers. Chris Claremont picked up the writing of the comic and would go on to be the longest serving contributor to X-Men lore. Under Claremont, the comic became a super-powered soap opera, as the characters dealt with threats to mutant-kind while bickering amongst themselves.
The various X-titles explored what it was like for outsiders in society. Readers could fill in whatever blank the X-Men filled, whether it’s being Black, Jewish, gay, or trans. The X-Men are Marvel’s outsiders, the ones who don’t fit in to what society accepts as normal. X2: X-Men United plays it up with Bobby coming out to his parents as a mutant. Magneto, one of the best known antagonists of the team, shares the Profiessor X’s goal of having mutants seen as humanity’s equal but is more extreme in how he goes about reaching that goal.
The X-Men have had a number of adaptations, including four animated series, three movies as a team, four prequel films, three featuring Wolverine, two featuring Deadpool, and one featuring the New Mutants, spinning off from the original three movies. There was still one area not yet exploited, the anime segment. This in 2011, along with several other adaptations of Marvel titles, X-Men Animated Series (エックスメン) was created. The twelve episode series was a co-production between Marvel, Sony, and anime studio Madhouse, with Warren Ellis co-writing the story.
The anime uses the team of Cyclops, Storm, Beast, Wolverine, and Professor X. and introduces Emma Frost and Armor as new members during the run of the series. The series begins with the death of Jean Grey, with Cyclops agonizing over having to kill her before the Dark Phoenix runs amok. Jean dies by another’s hand. The story then skips a year. Mutants are disappearing in the Tōhoku region in northeastern Japan, near an area the even Cerebro cannot scan. Xavier sends the team to investigate. During the investigation, the team discovers that the U-Men are active in the area, abducting mutants to harvest their organs.
The team manages to rescue one of the missing mutants, Ichiki Hisato, but is too late for the other, who transforms into a monster and needs to be killed to be stopped. The team also finds Emma Frost, formerly of the Hellfire Club‘s Inner Circle. Frost was also seen by Cyclops in Jean’s mindscape just before her death, so he’s not inclined to trust her. Hisako then manifests her power, psychic armour that augments her strength.
A new problem also manifests – Damon-Hall Syndrome, a syndrome that causes mutants to gain a second set of powers. Emma gains the ability to turn her skin diamond hard. However, if the syndrome is allowed to continue, the infected mutant will lose control. Beast begins work to create a vaccination to stop the syndrome and begins inoculations.
Adding the the X-Men’s problems, when using Cerebro, Professor X keeps running across a young boy instead of what he is looking for. The young boy says nothing, adding to Xavier’s mystery. Xavier’s ex-lover, Sasaki Yui, is also in the area, working with the area’s mutants in a similar way that Xavier’s School for Gifted Children does with one difference; Yui’s research has come up with an experimental medication that is supposed to suppress mutant powers. The actual result, though, is that the medication is a viral mutagen.
The various elements come together for the climax, as the villain behind the U-Men reveals himself and the young boy haunting Xavier appears. Ultimately, it is not a super-powered battle that determines who wins, but the power of love and friendship saving the day.
One thing Marvel does with its various non-comic works is set them in alternative universes. Spider-Man: Into the Spider-Verse is listed as Earth-TRN700. The X-Men anime is listed as Earth-101001, allowing for changes to characters as needed. However, the characters are recognizable. Storm’s appearance follows Halle Barry in the X-Men movies, no mohawk here. Characterization follows the comics and other X-Men spin-offs, with tension between Cyclops and Wolverine, Logan’s short temper, and Beast’s wisdom. Even the villains hold to the comics, from the Hellfire Club to the U-Men, who almost turn the series into body horror.
The biggest change is art style. Anime brings in its own set of assumptions and tropes. However, so does Marvel’s art style in its comics, with that style constantly evolving. The regular characters are recognizable, though the anime style can be seen in the body horror of the altered mutants and U-Men.
Overall, the anime builds from the comic and the movies. Characterization and character designs follow what has been established, with changes as needed for the shift in medium. The series uses a different villain than seen in other X-Men adaptations, which makes for a refreshing change of pace. There are some changes to canon, such as Xavier’s relationship with Yui, but with Marvel designating the different adaptations as separate, alternate universes, the differences can be smoothed over. Overall, the X-Men anime is a good adaptation of the X-Men franchise.
As for the extended hiatus, I wound up catching COVID-19 mid-January. I wasn’t bedridden, nor on oxygen, but in the worst of it, I was spending half the day in bed, waking up to try to eat something. I wound up losing some of the weight I gained during the pandemic lockdown, but I really don’t recommend this method. I was under mandatory quarantine from the 26th until end of day of the 31st after a positive test. Not that I was capable of going anywhere during that time. I suspect I had just a mild case of COVID-19, with just lingering after effects, including a persistent cough and fatigue that’s finally going away. My apologies for the extended disappearance, but it couldn’t have been helped.
Batman, the character, has been around for eighty years since his first appearance in Detective Comics #27. Over that time, he has been in a number of different media, including serials, television, animation, film, and games. The character has been portrayed in a number of ways for 80 years, allowing for a Batman for everyone’s tastes.
Cutting to the chase, one of the more recent adaptations is also a spin-off. The LEGO Batman Movie features the Batman from The LEGO Movie, itself also an adaptation. The LEGO Movie is also a hard movie to follow up on, having not only been entertaining and thought provoking, but also a cinematic way to play with LEGO. Batman in The LEGO movie was both a parody and a kid’s view of the character, dark, gritty, and very, very serious. Will Arnett played the character straight, despite the absurdity, much like Leslie Nielsen in Airplane and Adam West in the 1966 Batman TV series.
The LEGO Movie well enough to garner a sequel and Batman was popular enough to get a spin-off. This time, set in LEGO Gotham, the movie features Batman and characters associated with him. Emmett, Wildstyle, and Unikitty aren’t around; this isn’t their movie. Instead, LEGO Batman has Will Arnett, Michael Cera as Dick Greyson, Rosario Dawson as Barbara Gordon, Ralph Fiennes as Alfred Pennyworth, and Zack Galifianakis as the Joker. Even the minor characters were voiced by an impressive cast, including Mariah Carey and Billy Dee Williams as Two Face.
LEGO Batman opens with black, like all important movies, followed by the type of music that makes studio execs and parents nervous. Batman even narrates that, then provides a quote that becomes important to the main theme of the movie.
The big opening features the Joker with every villain from Batman’s rogues gallery planting a bomb underneath Gotham City that, if it explodes, would send the city into the endless void beneath the city. The Joker offers Gotham a deal – provide the mayor and Batman, the city goes unexploded. As time ticks down, the mayor arrives, but there’s no sign of Batman, worrying the Joker. However, the master of disguise that Batman is has already arrived, in the form of the mayor. Batman breaks out a new song and proceeds to defeat the A-list, B-list, C-list, and D-list villains, leaving the Joker for last.
All the Joker wanted was for Batman to acknowledge him as his greatest enemy. Batman steadfastly refuses, calling Superman his greatest enemy and saying he needs no one and the Joker means nothing to him. The Joker does get away as Batman dives to defuse the bomb and saves the city once again.
Later that night, Bruce Wayne arrives at James Gordon’s retirement party. Gordon is stepping down as Police Commissioner, allowing his daughter, Barbara, take over the role. Barbara is a graduate of Harvard for Police and has cleaned up cities like Bludhaven through physical abilities and spreadsheets. It’s love at first sight for Bruce, who is so smitten he accidentally adopts Dick Greyson without realizing it. Barbara, though, hasa plan to clean up crime that doesn’t involve Batman.
Joker, meanwhile, enacts his latest plan to get Batman to admit he’s the greatest enemy. All he needs is the Phantom Zone ray. The plan is somewhat convoluted as he surrenders not just himself but every Bat-villain into Barbara’s custody, sending all of the villains to Arkham Asylum. Batman and Barbara both know that the Joker is up to something, but Batman believes the best place to keep him is in the Phantom Zone.
After a theft where Batman uses Dick, now using Robin as a code name, as an expendable minion, steals the projector from Superman”s Fortress of Solitude. Breaking into Arkham is a little more difficult than expected, but Batman sends the Joker to the Phantom Zone. Barbara takes the opportunity to lock Batman and Robin away.
In the Phantom Zone, the Joker gathers several LEGO versions of filmdom’s villains – Sauron, Voldemort, King Kong, Dracula, Godzilla, even “British robots” that like to yell “EXTERMINATE!” With this lot, the Joker will force Batman to admit that they need each other.
The movie is a character study of Batman, using every incarnation of him, comic, cartoon, and film. LEGO Batman makes references to events from the Christopher Nolan movies, the Tim Burton movies, and the Leslie H. Martinson movie. The character is recognizable and covers similar ground, but takes a deeper look into what becoming a loner does to him. LEGO Batman is driven by two things, a desire to keep others feeling what he did when his parents were shot and a desire to not go through those emotions again. It’s when he is forced to confront what he has become that he realizes that he can’t protect his friends, and he needs them.
The LEGO Batman Movie has its “kid playing LEGO” moments, following the style of The LEGO Movie. Many of the sound effects are just the voice actors providing them, such as, “Pew pew pew!” At the same time, the movie has depth that many of the Batman movies don’t get into, such as the effects of fighting crime while dressed as a bat. LEGO Batman isn’t a parody but a pastiche of all previous incarnations, but while treating the plot like an amusement, the psychology of Batman isn’t there for comedy. His motives are examined, his ego and bravado a shield.
Despite, or maybe because of, its origins, The LEGO Batman movie may be the best representation of the character on film. The character, despite being a toy, has depth, as does the Joker. They both have a need that Batman manages to deny for both, and only when he can break past the denial can the city be saved.
Two weeks ago, Lost in Translation covered the Netflix series, Titans, based on the various DC Teen Titans titles. Titans aims at an older audience, one that wants gritty. However, Titans wasn’t the first adaptation of the team. The Titans first appeared on TV with segments on The Superman/Aquaman Hour of Adventure. The team’s first starring role came with 2003’s animated series, Teen Titans.
Produced by Glen Murakami, Teen Titans was loosely based on the Marv Wolfman-George Perez series, The New Teen Titans. The show centred around Robin (voiced by Scott Menville), Starfire (Hynden Walch), Cyborg (Khary Payton), Raven (Tara Strong), and Beast Boy (Greg Cipes). Over five seasons, the Titans fought evil-doers of all types, from Mad Mod to Trigon. The series hit the first two arcs in The New Teen Titans, including Trigon and Deathstroke the Terminator, though the show used his actual name, Slade.
Before continuing, let’s put the series into the context of its release date. In 1995, a wave of anime hit American shores and made an impact. Three series debuted in 1995 – Dragonball, Sailor Moon, and /Technoman/, the latter based on the anime Tekkaman Blade. Two became massive hits; Technoman didn’t catch on, but Sailor Moon and Dragonball had staying power. North American stations and cable channels saw the popularity and started importing more series to sate the demand. Manga began hitting the shelves at bookstores and gained an audience that wasn’t interested in traditional comics.
During this, Murakami decided to use a mix of animation styles for Teen Titans, a blend of classic Warner animation, like Looney Tunes and Merry Melodies, and anime. Other animation styles crept into other episodes, like Terry Gilliam’s as seen on Monty Python’s Flying Circus as seen in “Mad Mod“. The mix of animation styles gave Teen Titans its own look. The series’ spin-off, Teen Titans Go! went a step further and added a super-deformed look to the characters.
Speaking of the characters, they are recognizable. There is no mistaking them for other DC characters. The biggest change in design may have been with Starfire; her figure less voluptuous and more teen-aged. The characters also went by their hero IDs, leading to the question of which Robin was in the show. Starfire and Beast Boy did get their names revealed, but it wasn’t made into a big deal. The series played with the audience on which one he was, never really confirming whether it was the original Dick Greyson or one of his successors.
Each season had its own arc, with some standalone episodes mixed in. The first season focused on Slade (voiced by Ron Perlman), who was trying to recruit Robin to be his protege. Slade returned in the second season, based on the Terra arc from the comics, with Terra (Ashley Johnson) being used to infiltrate and destroy the Titans from inside. Season three’s focus was on Cyborg as he dealt with his machine half and the attempts by Brother Blood (John DiMaggio) to misuse his electronics. The fourth season brough the Trigon (Keith Michael Richardson; Keith Szarabajka in the episode, “Nevermore”) arc in, putting the focus on Raven, though with foreshadowing of the arc in the first season episode, “Nevermore”. The final season put the focus on Beast Boy, introducing his old team, the Doom Patrol, and sees him taking on the Brotherhood of Evil.
Each season’s arc was treated seriously. The major villains were credible threats, ones that the Titans had to work hard to defeat. Not every episode was serious, though. Mad Mod (Malcolm McDowell), introduced in the comics in 1967 with a Mod-style approach to villainy. The character received an update without changing his schtick; in his first appearance, Mad Mod tried to revive England of the Sixties. At the end, it was revealed that he was a much older man trying to bring back his glory days. The Amazing Mumbo (Tom Kenny), whose approach to crime is to use a magic hat and wand, had a The Muppet Show-style episode in “Bunny Raven . . . Or How to Make a Titanimal Disappear.” Mumbo traps the team inside his hat, where he has full control. Several of the Mumbos appeared as Muppets, including Scooter, Statler, and Waldorf.
The series didn’t limit itself to Western references. Shout outs to various anime appeared during the show’s run, and not necessarily mainstream titles like Sailor Moon, series like Lupin III, homaged in a car chase during “Car Trouble”. Thunder and Lightning, from “Forces of Nature”, while based off a Kivalliq legend, appear in traditional Asian garb. Even the theme song was performed by a J-pop band, Puffy, aka Puffy AmiYumi. The theme was a way to tell when an episode was going to be different; when it was performed in Japanese, the episode was going to be far from serious.
Teen Titans built off the comics to become its own thing. The characters, heroes and villains alike, are still recognizable. The storylines, particularly the ones involving Slade and Trigon, were taken from the original work. The result is a series that blends several different styles of animation to become a unique TV series.
Lost in Translation has covered Godzilla before, with the 1998 and 2014 American adaptations and even the Hanna-Barbera animated series. What started as a warning about radiation and weapons of mass destruction has grown into a popular franchise, with Godzilla fighting more monsters while destroying Japanese and American cities.
While the original Gojira was born from the fears of nuclear war, as the franchise grew, later films presented Godzilla as the defender of Earth from threats against it, either other monsters or, since there’s more to the planet than just the dominant species, humanity itself. The draw is still Godzilla; the audience is there to see the daikaiju in all his glory. What Godzilla represents now is the nature rising up and wreaking havoc on humanity in retribution for environmental damage. That brings us to Toho Animation’s three-part series of movies – Godzilla: Planet of the Monsters, Godzilla: City on the Edge of Battle, and Godzilla: The Planet Eater. The three movies tell the story of how humanity was driven off-world thanks to the rise of giant monsters, the return to Earth, and the fight to reclaim the planet from Godzilla. However, not everything is as it seems.
The first movie, Planet of the Monsters, giant monsters appeared from the depth of the Earth and started destroying cities. Humanity tried to fight back, but Godzilla appeared. Nothing the nations of Earth threw at the monster worked, not even nuclear weapons. During the war against the monsters, two visitors arrived. The first were the Exif, who also had lost their world to a monster uprising. They offered their assistance towards the salvation of humanity. The other were the Bilasaludo, another people who lost their homeworld to monsters. The Bilasaludo offered their technology to try to rid the Earth of Godzilla, including building MechaGodzilla using nanometal.
Godzilla destroyed the installation where MechaGodzilla was being assembled. Humanity was left with no choice except to flee Earth, with the survivors gathering into a colony ship to search for a new home. After spending twenty years searching and finding nothing habitable and after a disaster that sees a landing ship explode during re-entry, the decision is made to make a warp-jump back to Earth to at least resupply. Thanks to relativity and the effect of time dilation at near light speed, the ship returns twenty thousand years later. Haruo Sakaki has spent time analysing fights against Godzilla and has a plan of attack that could kill the daikaiju.
Despite the loss of time, the surviving humans put together the team needed to destroy Godzilla. The assembled forces with gear, including high speed hover bikes, power suits, and mobile artillery, launch. Earth, though, has changed. Life has evolved to survive with Godzilla around. Leaves have become sharper and wildlife has grown heavy scales. One landing site suffers heavy casualties when flying lizards attack. The plan is revised, but is still a go. The goal is to drop Godzilla’s shield, generated by his dorsal fin, then inject him with EMP devices to force an overload.
There is heavy casualties, but the plan works. Godzilla explodes. The survivors of the assault celebrate. The celebration is cut short, though. Godzilla is still the defender of the Earth. Destruction is just a temporary set back. Godzilla returns, even larger and more powerful. He devestates the assault’s survivors.
/City on the Edge of Battle/ starts with the ship’s command staff arguing about staying to hear from survivors or going into a lunar orbit to get out of range of Godzilla’s heat ray. The compromise is forty-eight hours to hear from survivors, then leaving. On Earth, Haruo regains consciousness and discovers that there were survivors from the people left behind on Earth when it was evacuated. A young woman has treated his wounds. Haruo follows her to her home, an underground settlement, picking up other survivors from the assault along the way. The survivors, the Houtua, have a flourishing society despite a lack of technology. Other survivors have been taken in by the Houtua already, giving Haruo a small force to lead. Among the other survivors are the Exif Metphies, Haruo’s friend from on board the ship, and the Bilasaludo, Gala-Gu and Belu-Be.
The Bilasaludo discover that the weapons the Houtua use are made from a form of the nanometal used to create MechaGodzilla. Not being far from the installation, they lead the survivors to where it was. In its place, a large complex has formed completely from nanometal, dubbed MechaGodzilla City. Inside the complex, the survivors are able to contact the ship in orbit. A new plan is formed to try to destroy Godzilla. Using the nanometal, three power suits are upgraded, turning them into Vultures, capable of flight and withstanding a blow from Godzilla. Using the same assault plan as before, Godzilla is lured into a trap and is caught in place using more nanometal.
The problems start when the Bilasaludo allow the nanometal to fuse with them. They believe that they need to become more and less than human to defeat Godzilla. Obviously, they didn’t have a Friedrich Nietzsche in their history – “Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird,” or, “He who fights with monsters should look to it that he himself does not become a monster.” MechaGodzilla City starts absorbing anyone in it. The humans flee, but Haruo and power suit pilot Yuki Kaji aren’t so lucky. The nanometal in their Vultures starts to fuse with them. Haruo is able to fight it off but Yuki cannot. Torn between destroying Godzilla or potentially saving Yuki by destroying the core of MechaGodzilla City, he chooses Yuki.
Godzilla is able to free himself, heating the nanometal to beyond its melting point. He destroys the complex, something he had been searching for, then rests. The last hope for destroying Godzilla is in ruins.
The Planet Eater begins soon after the events of the previous movie. The Bilasaludo on board the ship in orbit take over the engineering section and threaten to cut off life support if they don’t hear from their brethren on Earth, unaware of what has happened. Meanwhile, the Exif on both the ship and Earth are beginning to convert the remains of humanity into followers of their religion. There is a problem there, though. The Balisaludo’s lack of a Nietzsche is nothing compared to the Exif’s lack of a HP Lovecraft. The Exif’s god is a monster from another dimension, King Ghidorah. He’s not coming to save humanity but to destroy it. The remaining Exif were spared when their homeworld was destroyed so that they may deliver other worlds to Ghidorah.
Ghidorah emerges from three singularities, none of which appear on the ship’s sensors. Thanks to the monster’s gravity bending and the different laws of physics in its home universe, time warps. with events happening after they became impossible. Ghidorah destroys the ship in orbit, then turns his attention to the biggest threat on the ground, Godzilla. The fight is one-sided; Ghidorah can bite Godzilla but the defender of Earth cannot even grab the invader.
In the spiritual realm, Haruo fights against Ghidorah and his priest, Metphies. He is shown scenes from earlier in the film, but from Metphies’ point of view. With the betrayal laid bare, Haruo sees how he was used. The fight is tough, but the young Houtua twin sisters, Maina and Miana, aide by calling to their goddess, who briefly appears in Haruo’s vision as a moth. Defeating the priest subjects Ghidorah to the local universe’s physics. Godzilla is now able to not just grab the invader’s heads but to also use his heat ray. The planet is saved.
The trilogy has some issues, mainly with the pacing in the second film. The story may have been better off as a seven- or eight-part limited series, but the goal was to have the movies shown in theatres first, then moved to Netflix. However, the series of films was made by Toho Animation. If anyone understands what the draw to a Godzilla film is, it’s Toho.
The story through the three films is Haruo’s. He provides the drive throughout the film. Godzilla, though, is the reason for that drive. Haruo is chasing his white whale. To finish Nietzsche’s quote, “Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein,” or, “And if you gaze long into an abyss, the abyss also gazes into you.” When Haruo realized the abyss was staring back, he blinked and put his need for revenge aside for the greater good of the survivors of humanity.
Godzilla is Haruo’s white whale and his abyss. The daikaiju is a force of nature unto himself, a destructive force that cannot be destroyed permanently. Godzilla is the defender of the Earth, but that still doesn’t mean humanity is included. Threats, such as environmental disaster and nuclear weapons testing, created Godzilla. Ongoing threats, like the nanometal from the remains of MechaGodzilla, kept Godzilla around over twenty thousand years. At three hundred metres tall, Godzilla is the dominant lifeform on Earth.
With the film trilogy being animated, the drawbacks of live action, such as budget and special effects, are avoided. Godzilla is the biggest thing on screen when he appears. His appearance resembles his other film appearances. The films give him a few new powers, but those are based on his size; a mighty destructive roar and a tail slash that both destroy human forces at a distance. The main new power is a shield, generated from his dorsal fins. When charging, the actinic light plays along his fins much like previous films. This shield is how Godzilla survives having nuclear weapons dropped on him.
King Ghidora has a huge change. He’s now an extra-dimensional threat and brings his own physics with him. At the same time, Ghidorah is still a threat to the Earth, still a danger to even Godzilla. Instead of being under the influence of aliens, the aliens – the Exif – are under his. Animation allowed Toho to show Ghidora as the King of Monsters.
Instead of a city, the stakes are humanity itself. Tokyo is in ruins for most of the series, long gone and forgotten on Earth. The monsters rose up as if nature went on the offensive to throw off humanity. If humans can’t protect the environment, the environment will develop an immune system, one with an atomic breath. Godzilla 2000 ends with the question, “Why does [Godzilla] always save us?” while Godzilla is taking a victory lap on top of Tokyo. With the animated trilogy, the Earth is saved, but humanity had to learn to live with nature, not compete against it.
The theme of the Godzilla franchise has always been about the dangers of destroying the planet, either through nuclear war or through environmental damage. The three animated movies are no different. This time around, thanks to the animated format, the utter devestation can be shown. Pacing may be an issue, but the three movies are still Godzilla.
It’s almost a truism that video game adaptations are horrible, The early entries set the tone. The problem for most of these adaptations is that what works for game play doesn’t work as a narrative, especially with older games. Pac-Man was about gobbling dots and running away from ghosts; characterization is minimal; Super Mario Bros. is about travelling through a series of death traps to find a missing princess. Naturally, there are exceptions.
Meanwhile, educational software exists to teach a subject, not necessarily be memorable. Oregon Trail, one of the earliest educational computer games, first released in 1971, is memorable because of the difficulty of getting across the continental US in the mid-1800s. The difficulty was what the game was teaching. Gamification helps students learn concepts, from history to typing to geography. While Oregon Trail is memorable, it really only appeared in schools. Where in the World Is Carmen Sandiego, however, was commercially available and not only became a hit, it became a franchise.
The original Where in the World Is Carmen Sandiego was created and released in 1985 by Brøderbund as a way to teach geography and research skills to children aged 8 to 12. The player, who was considered to be an agent for the Acme Detective Agency, had to decipher clues left by Carmen and her henchmen to figure out where they were and what they were about to do, all based on real world geography. Each successful case brought the player closer to Carmen herself. The names given to characters were all based on puns, starting a trend that continues through the franchise. The original game sold well for Brøderbund, leading to sequels including Where in the USA is Carmen Sandiego in 1986, Where in Europe is Carmen Sandiego in 1988, and Where in Time is Carmen Sandiego in 1989, the last one adding history to the education provided.
As seen with many adaptations, if a work gets popular, someone will want to adapt it into a different medium. With Carmen, the core premise – a detective tracking down a master criminal – lends itself to adaptation far better than eating dots. However, the game is meant to be educational, so the first network to pick it up was PBS, the Public Broadcasting Service. The result was a TV game show for kids the same age as the computer game aimed for with Lynne Thigpen as the Chief and Greg Lee as the host, and the theme song by Rockapella. The players were agents for the Acme Detective Agency, tracking Carmen and her henchmen around the world. similar to the original game, though in a competition. The game show ran from 1991 to 1995, winning several Daytime Emmy awards and a Peabody before becoming Where in Time is Carmen Sandiego from 1996 to 1997.
While the game show aired, a series of eight books based on the video games were published. Written by John Peel, the books were a series of “choose your own adventure” novels using the titles of the video games. Peel kept to the tradition of puns for the names of his crooks as, once again, the reader became the Acme Detective Agency agent assigned to track Carmen and her henchmen as they left clues around the world.
By the mid-Ninties, Carmen was a household word. The inevitable happened and DiC studios produced an animated adaptation for Saturday mornings on Fox. The creators, aware of the violence in the other series Fox aired, such as X-Men, were concerned, but DiC created Where on Earth Is Carmen Sandiego without relying on or using violence to solve a problem. Replacing the player were siblings Zack (voiced by Scott Melville) and Ivy (Jennifer Hale), a pair of Acme agents charged with tracking down Carmen, voiced by Rita Moreno, and her army of henchmen. This time, instead of just being a master thief working for VILE, Carmen is a former Acme agent and steals for the challenge of the theft. This series would be the first where Carmen had a voice instead of just being glimpsed. With the new series, a new theme song based on a work by Mozart. The cartoon won a Daytime Emmy for Outstanding Children’s Animated Program in 1995.
Through every iteration, while Carmen has been the subject of the work, she wasn’t the star. For the games, the main character was the player, chasing Carmen and her crew. With the adaptations, it was the same thing, Carmen was the thief to be caught and not the lead character. However, with no Carmen, there’s no adaptation. The eternal chase is a valid approach to entertainment, ranging from Road Runner cartoons through to The Pink Panther movies, which focused on a bumbling detective searching for a thief. The format can get stale when overused. No one is hoping that Wile E. Coyote catches the Road Runner; that’s the end of the series. A villain who always gets away can get old, especially over a long run; see also, Batman and the Joker.
However, it is possible to turn the eternal chase around, focusing on the pursued instead of the pursuer. The gentleman thief, motivated by the challenge or by a personal code of morals and honour, has appeared in literature, film, and television. Arsène Lupin, Danny Ocean and his team in Ocean’s Eleven, Leslie Charteris’ The Saint, the Leverage crew, and Hitomi, Rui, and Ai from the manga Cat’s Eye show the range of gentleman and gentlewoman thieves in entertainment. The draw is competence porn, watching an expert do their job well, while still being able to root for the hero even if the hero is breaking the law.
With a show aimed at children, there’s a fine line to tread. There are few people who want to be responsible for telling kids that it’s okay to steal. Carmen Sandiego, though, is a master thief. Every adaptation has kept her as a master thief. It’s one of the character’s defining elements, along with the red hat and trench coat. At the same time, Carmen is the draw. It’s a delicate balance. Enter Netflix.
In 2019, Netflix, Houghton Mifflin Harcourt, and DHX Media teamed up to bring Carmen Sandiego back to television with the series Carmen Sandiego. Carmen (Gina Rodriguez), with the help of white hat hacker Player (Finn Wolfhard) and siblings Ivy (Abby Trott) and Zack (Michael Hawley), is turning the tables on VILE, stealing artifacts from them to return to their rightful owners. Carmen is still being chased, but she’s now the lead, not the pursuers. She is still a master thief, one who steals without hurting anyone, even if they are from VILE.
The first two episodes go into who in the world is Carmen Sandiego. After a successful theft under the eyes of Interpol agents Chase Devineaux (Rafael Petardi) and Julia Argent (Charlet Chung) in Poiteiers, France, Carmen gets tracked down by former classmate and VILE thief, Gray (Michael Goldsmith). She and Gray were in the same class at VILE’s academy for thieves, along with four other recruits. At the time, Carmen was known as Black Sheep, a temporary code name until graduation. While Gray and her other classmates were recruits, Carmen grew up on VILE’s island. Coach Brunt (Mary Elizabeth McGlynn) took Carmen in as a baby and encouraged her in learning about the world and how to steal. Despite her age, Carmen was one of the top thieves despite not being a student. VILE’s head council votes to accept her as a student.
As she grew up, Carmen engaged in a number of pranks, culminating with the annual water balloon bombing of VILE’s accountant, Cookie Booker, voiced by Rita Moreno. In one of the bombings, Cookie dropped her smartphone without noticing. Carmen did notice and grabbed it to add to her small stash of items. Any sort of cell phone is verboten for students to have on VILE’s island, though, so when it rings, Carmen is startled and answers it to get to be quiet. At the other end of the line is Player, a white hat hacker from Niagara Falls. While Player was just trying to let someone know of an exploitable hole in security, he and Carmen build a friendship over the phone over the years. She teaches him about different cultures through people passing through the island and he teaches her about the nature of white hat hackerism.
When it’s time for the final exams, Carmen aces all but one test. The one she failed, she believes Shadow-san (Paul Nakauchi) deliberately set her up to fail. She’s told she’s not allowed to go with her classmates on their first mission, but Carmen wasn’t always one for rules. Carmen sneaks on board VILE’s helicopter, stowing away. The catch is that she wasn’t there for the briefing or the planning session, where the way to the crime scene was by parachute. Carmen hitches a ride with Grey on the way down, though and runs off to try to find VILE’s target, an archaeological dig that has unearthed the Eye of Vishnu.
Talking with the archaeologist lets Carmen discover that there is something more valuable than money, knowledge. Before she can get too far into a discussion, though, her classmates arrive. They knock out the workers onsite, but are spotted by Carmen and the archeologist. The orders the new VILE thieves have include the command, “No witnesses.” Carmen, though, can’t let that happen and fights against her former classmates.
Carmen loses the fight and is brought back to VILE’s island. She’s forced to repeat her final year. During this time, though, Carmen plots a way to get off the island with the help of Player. Her goal, to not just escape, but to take the hard drive Cookie delivers once a year. Barring the helicopter, Cookie’s boat is the only way off the island. Carmen steals the hard drive, steals Cookie’s red hat and coat, and gets her name.
Back in the present, Carmen deals with her former classmate and friend Grey. Chase has managed to keep up with the two despite the damage he’s done to his car during the pursuit. Instead of Carmen, he gets Grey. Back at the crime scene, Julia discovers that nothing of value was stolen even though Carmen was seen with a sack holding something. Julia doesn’t have proof, but given that the vault holding the Eye of Vishnu also contained several other stolen objects, and that the owner of the building, a numbered company, was also the registered owner of a number of other locations that Carmen has hit, she believes that Carmen isn’t the usual thief and may have a goal of getting stolen items returned to their rightful owners. Why else would a thief be so brazen to wear red and let herself be seen by Interpol agents?
Over the rest of the episodes, Carmen maintains her private war against VILE. She’s not the only one after them; a secretive group called ACME, headed by the Chief (Dawnn Lewis) is trying to find proof of VILE’s existence. Carmen is the only link they have and Chase is the only Interpol agent who can identify her. ACME recruits Chase and Julia to find both Carmen and VILE. Chase is driven to arrest the infamous thief to the point where he is oblivious to senior VILE personnel when he’s in the middle of them. Julia is the brains of the partnership. but she isn’t able to maintain the pursuit to the degree Chase can. Both become valuable gumshoes for ACME.
The biggest change in the new Carmen Sandiego is that Carmen, the draw of the franchise, is finally the lead. The games, from first release in 1985 to the Google Earth game, and even in the animated series, Carmen was the pursued, but the main characters were the detectives after her, from the game’s player to stand-ins for them. The series doesn’t ask where Carmen is but who Carmen is. VILE is still the villain and ACME is back as the primary agency hunting. Dawnn Lewis’ Chief is modelled off Lynne Thigpen’s from the game show.
The series is aimed at the same age group the original games, the PBS game show, and even the DiC animated series were. This time around, though, there’s a few extras for the parents of the new audience, people who played the games or watched the shows in the Eighties and Nineties. Little references here and there, ones that can be shared with the younger generation, pop up in the course of the series, including a They Might Be Giants one in the first episode.
The new Carmen is still an educational series, focusing on geography and cultures around the world. The lessons tie into the plot of the episode, giving the reason why VILE has the evil scheme and why Carmen wants to stop them. The presentation of the facts come from both Carmen and Player, who share an interest in cultures not their own. Accents are genuine, though presented as to be understood by the young audience. The characters are diverse; Interpol, ACME, and VILE are all equal opportunity employers.
The pun-based names have been eased back a bit, but they still exist, if a bit more subtle. Grey had to be dissuaded from calling himself Graham Crackle. Cookie Booker, the accountant and bookkeeper, cooks VILE’s books. Paper Star (Kimiko Glenn) throws star-shaped origami shuriken. Dr. Saira Bellum (Sharon Muthu) is on VILE’s head council and is their technical expert and inventor. Chase is dogged in his pursuit of Carmen. The spy and snitch Mime Bomb is a mime (and, thus, has no voice actor).
The new Carmen solves the big problem of the eternal pursuit; if the pursued is caught, what happens to the series? With Carmen as the lead, the audience doesn’t have to deal with the main characters constantly being eluded despite all their efforts. The series allows the audience to root for Carmen, so the tension isn’t will this be the episode where she gets caught but how close will she get to being caught before she escapes. Carmen herself is shown to be competent and capable, so any gumshoe who gets close enough to see her let alone try to arrest her will be a worthy challenger. Chase, for all his shortcomings, is still a capable agent. Julia shores up the skills Chase is missing. Combined, the two give Carmen a challenge.
The series, while being its own work, gives nods to previous versions. The new Carmen received advice from Cookie, played by the first actor to give the character a voice. Carmen also steals her signature red hat and coat from Cookie, further cementing the hand off to the new generation. Player is a nod not just to the people who played the games but to the kid seen at the beginning of episodes of the DiC series. The theme music from the DiC series makes an appearance as elevator music. The new Carmen has more violence, with her and VILE agents battling it out. Most of the time, though, the VILE agents initiate the fights against Carmen and her team. Carmen is a thief, not a thug.
Carmen Sandiego is its own work, but it builds upon the franchise in such a way to be part of it instead of separate. Placing Carmen as the lead allows for the series to tell new stories while still bringing the elements that are expected of it.
Lost in Translation has covered several Spider-Man adaptations in the past, including Sam Raimi’s Spider-Man and its reboot, The Amazing Spider-Man. Both focused on Peter Parker, the Spider-Man introduced in Amazing Fantasy #15. Spider-Man is Marvel’s flagship character. Whenever a new character gets a title, Spider-Man is there to reinforce the idea that the hero is part of the Marvel Universe. As a result, Spidey has met most of Marvel’s heavy hitters, from the Avengers to the X-Men. New York City may be a large city, but heroes will cross each others’ paths.
Peter, though, isn’t the only Spider-Man in Marvel Comics. Thanks to alternate universes, there can be an infinite number of Spider-Men. Indeed, some are from a different Marvel Universe, like the Spectacular Spider-Ham, who first appeared in Marvel Tails Starring Peter Porker the Spectacular Spider-Ham; Spider-Gwen, the Gwen Stacy of Earth-65 who became Spider-Woman, as seen in Edge of Spider-Verse #2; and Miles Morales, from Marvel’s Ultimate line, who took up the mantle of Spider-Man after Peter Parker died, as seen in Ultimate Fallout #4. In a possible future of the main Marvel Universe, Miguel O’Hara becomes Spider-Man in Spider-Man 2099. In the main continuity, Dr. Otto Octavius, Doc Octopus himself, once took over Peter’s body to become the Superior Spider-Man. And that’s just scratching the surface of Spider-Men, not even touching the versions that have appeared in animated series, in live action film and TV, and in video games, nor the Spider-related characters, like Spider-Woman, Venom, and Araña. Marvel released a limited series, Edge of the Spider-Verse, that featured stories of the various version of Spider-Man, bringing them together to fight the dangers of the Inheritors across the Marvel Multiverse.
Marvel does track its multiverses. Anything done under a Marvel logo, be it film, TV, or streaming, Even the company’s comics that aren’t part of the main continuity, like the New Universe and the mangaverse, are part of the overall multiverse. The Peter Parker from the classic cartoon is a different one from Tobey Maguire’s in the Raimi Spider-Man, who is a different one from the main continuity, but they are all Peter Parker and Spider-Man.
Pulling even a fraction of all the available Spider-People is daunting. The general audience is most familiar with Peter Parker, thanks to decades of him being the face of Spider-Man outside comics. Fans will know of the others, but the rest of the movie-going public might not. With a runtime of just under two hours, there’s not much space to introduce all of them in Spider-Man: Into the Spider-Verse, even if the number of alternate Spider-Beings is limited.
Into the Spider-Verse opens with Peter Parker (voiced by Chris Pine) introducing himself as Spider-Man, giving a brief rundown on who he is and what he’s done for ten years, with scenes taken from the various Spider-Media, from comics to film, and the different tie-ins, like the classic cartoon and a Christmas album. Once Peter’s intro is done, though, the focus turns to Miles Morales (Shameik Moore), a high school student just starting at the prestigious Brooklyn Visions, a private school that only takes the best and brightest. Miles aced the entrance exam, but isn’t sure that he belongs there. At one point, he tries failing a true/false test, getting a zero. His teacher saw through it, though.
Miles’ life is complicated, like most teenagers’ lives are. He does wind up talking to another new student, “Wanda” (Hailee Steinfeld), who laughed at his lame excuse for being late for science class. Miles also sneaks out to meet up with his Uncle Aaron (Mahershala Ali), who shows him a safe spot to practice his graffiti. Aaron still has a shady side gig, the point where he and Miles’ father, police officer Jeff Davis (Brian Tyree Henry) have had arguments about leading to estrangement. As Miles works on his latest project, a radioactive spider, having escaped from Alchemex, lurks, eventually biting the teen.
The next day, the effects of the spider’s bite appear. Miles’ thoughts seem loud to him and are appearing on screen around him. His attempt to put to use some advice his uncle gave him on talking to girls fail horribly with Wanda when his hand gets stuck in her hair, leading to an impromptu haircut for her and stony silence for him. With nothing going right, Miles returns to his dorm room and flips through is roommate’s comics, finding the first Spider-Man comic and realizes that he’s having the same thoughts and problems the Peter Parker in the comic is having. Miles returns to the underground chamber where his artwork is and finds the dead spider. He then hears a fight nearby.
Spider-Man has located the Kingpin’s secret facility, being used to breach dimensional barriers to bring back Fisk’s deceased wife and son. The problem that Spidey has realized is that the device could collapse the space-time continuum, destroying not just Brooklyn, but multiple dimensions. Fisk’s device manages to lock on five other universes before Spider-Man can stop the process. The fight, though, leaves Spider-Man badly hurt. Spidey hands the key that can destroy the device to Miles, who sneaks away. Before he leaves, though, Miles witnesses Kingpin dealing the death blow to Spider-Man.
When news gets out about the hero’s death, New York City mourns. Peter Parker was well respected as both himself and as Spidey. His widow, Mary Jane (Zoë Kravitz), is surrounded by well wishers. Miles, still in shock and feeling responsible, attends funeral in the crowd in a cheap costume. He tries to train alone, but while he has Spider-Man’s agility, the rest isn’t there yet. To try to work out his thoughts, he heads to Peter’s gravestone. While there, a stranger approaches him. Miles reacts instinctively, knocking out the man. When he gets a closer look, he discovers that it’s a brunette Peter.
Once he recovers, Peter B. Parker (Jake Johnson), goes through the same intro Miles’ Peter had at the beginning, except this Spider-Man had been around for over twenty-five years, had been married to MJ but later divorced and hadn’t been taking it well. He’s older, heavier, and not quite on his game. The two head out to Alchemex’s headquarters in Harper Valley, where the plan is for Peter to sneak in, retrieve the files needed to recreate the key, now broken after Miles ran from Fisk’s henchmen, grab a bagel, and sneak out. Nothing in Peter B. Parker’s life ever goes smooth. He runs into Fisk’s chief researcher and Brooklyn Visions guest physics lecturer, Doctor Olivia “Liv” Octavius, Doc Ock (Kathryn Hahn) herself.
Miles and Peter escape the facility, lugging a desktop PC while being chased by armed mad scientists and Doc Ock as Miles is being taught how to use Peter’s web shooter. The competency of Miles’ late Spider-Man, though, means that the villains had to up their own game, and the pair are in deep trouble. However, a newcomer swings in to help. Spider-Woman, from another of the five dimensions, saves the boys and retrieves the computer before Doc Ock could grab it. “Wanda”, or, as she should be called, Gwen Stacy, gives her own backstory in the same manner as both Spider-Men before, this time with her own dimension’s Peter Parker having been the Lizard.
The three decide that the best place to try to figure things out is at the home of Peter’s Aunt May (Lily Tomlin). Aunt May had been expecting them and isn’t surprised at seeing her nephew at the door despite his funeral. She leads Miles, Peter, and Gwen to her Peter’s underground lair and introduces them to the other dimensional travellers – Peter Parker (Nicholas Cage), from 1933, in black and white, a masked detective in a noir pulp style; Peni Parker (Kimiko Glenn) and her SP//dr mecha which she copilots with a radioactive spider; and Peter Porker (John Mulaney), the Spectacular Spider-Ham. The three go through their backstory in unison, much like the previous backstories.
With the five extra-dimension Spider-beings now gathered, the plan turns from stopping Kingpin to getting everyone home then stopping Kingpin. The problem is that there should be six, but the one from Miles’ dimension is dead. To avoid having anyone left behind, though. Miles has to step up, control his abilities, and become the new Spider-Man for his dimension.
Spider-Man: Into the Spider-Verse may have done the impossible. The movie introduced Spideys that weren’t Peter Parker, provided their backstory, gave them all credible motivations, and made them all interesting, while still keeping to their comic origins. Even the animation styles used for the characters kept to their original titles. Spider-Ham’s animation harkens to both Disney and Warner Bros; Spider-Man Noir’s kept to black and white, including the dots that older, pre-computer inking used; Peni was straight up anime-style. Yet the styles didn’t clash. By the time they appeared, the idea of dimensions colliding was well in effect in the film.
Introductions were quick, getting the point across, becoming a running gag, then turning into a proper ending with Miles’ version. The movie is Miles’ story, but there’s room for the other Spideys. Relationships between characters were real. The relationship between Miles and his father showed all the awkwardness when a teenaged boy is trying to become his own person but is still dependent on his parents. Peter B. Parker’s life falling apart, especially in contrast to the successful Peter of Miles’ dimension, shows a man who lost his direction. Yet, that Peter hasn’t gone to the extremes that Wilson Fisk did by creating a means to break dimensional walls to get his wife and son back.
There is the required Stan Lee cameo, this time as Stan, the owner of a comic book shop who gives Miles some advice. “It [the costume] always fits, eventually.” While the costume Miles bought didn’t fit, when he stepped up, he made the costume his, and it did fit who he is. The quote from Stan Lee during the credits really does apply to Miles, and to many people in real life, “That person who helps others simply because it should or must be done, and because it’s the right thing to do, is indeed, without doubt, a real superhero.” Even when he was trying to deal with his new powers, Miles did help Spidey because it was the right thing to do.
To emphasize that Miles’ dimension was different, little things changed. Some were obvious, some were in the background. His father was an officer of the Police Department of New York City, or PDNY. Koca-Soda has the ad at Times Square. Movie posters had familiar pictures but new titles, like Simon Pegg’s From Dusk to Shaun. Getting details right is a key element that can make or break an adaptation. Into the Spider-Verse went beyond that here.
As a film, Into the Spider-Verse will be the Spider-movie that all others will be judged against. While the movie is Miles’ story, the different Peter Parkers brought a nuance to the character not seen in any of the movies so far, an older Peter instead of the high school and university students portrayed so far. The movie managed to hit the right tone, a bit of comedy, a bit of drama, a bit of superhero action, just as in the comics. Spidey couldn’t solve his problems using his powers in his comic titles, and neither could any of the Spideys in the movie. Peter B. Parker eventually realizes that he was in the wrong and he needed MJ in his life. Miles and his father reconcile. Gwen opens a little to letting people get close to her.
The humour comes through in appropriate times. When the Spider-Man of Miles’ dimension dies, it is a sombre moment. Later, though, as Peter and Miles steal Dok Ock’s computer, the tone lightens. The scientists recognize Spidey, since he was wearing the costume, and one yells out, “It’s Spider-Man! He’s stolen a bagel!” before they break out their lasers. Even in the climactic fight, all the Spideys keep up with the patter, a Spider-Man trademark.
As an adaptation, the movie doesn’t adapt The Edge of the Spider-Verse, nor was it meant to. It took the concept from the mini-series and from the video game, Spider-Man: Shattered Dimensions and brought it to film. The characters, though, are true to their original works, complete with appropriate animation style. The result is a film that embraces its comic book heritage instead of ignoring it.
Do stay past the credits. An eighth Spidey, Spider-Man 2099 (Oscar Isaac), makes an appearance, travelling back to when it all began, 1967. Worth staying for and is a brilliant adaptation on its own.
Last week, Lost in Translation took a look at animated adaptations with a high level view. It’s time to delve into a specific one to get a better view of how such things turn out.
Thanks to the success of Star Wars merchandise in 1977, toys and toy licensing became another way to make money from a movie. Sure, prior to Star Wars, there were toys made for some franchises, but not to the same extent and success. However, many of the most toyetic movies were also R-rated, meaning that the target audience for the toys were not likely to have seen the movie except in ads. However, the reduction of FCC regulations against using children’s entertainment as advertising presented a new way to introduce the characters to the new audience – cartoons. Thus, among other animated adaptations, RoboCop the Animated Series.
The original RoboCop was a violent, over-the-top satire of the Reagan era. Everyone has a gun. Automation destroys jobs. Detroit is bankrupt. The Detroit police get privatized, bought up by Omni-Consumer Products, who saw the city as a test bed for automating law enforcement. The movie wasn’t subtle. Officer Alex Murphy is shot with the symbolism of the Crucifixion. Scenes had to be trimmed to avoid the dreaded X rating, preventing the movie from getting into any theatre. Blood was shed by the barrels.
The perfect movie to adapt for children.
The 2014 remake, with its PG-13 rating, had its violence toned down. No more graphic deaths. No one getting shot with hundreds of rounds by a robot still in beta. It was one of the problems fans of the original movie would cite about the remake. The violence was reigned in. There still was violence. Drones got destroyed. Murphy got shot and burned. But the gore was gone. The remake’s satire hit closer to home, but the violence of the original allowed audiences to take a step back. The PG-13 rating was seen as the problem by fans of the original, not allowing for the over the top violence of the original.
With that in mind, if there was a backlash against the 2014 remake, how do things shake out for 1988’s RoboCop: The Animated Series? If a PG-13 rating forced the 2014 remake to focus the violence on drones, how much is lost for a weekly cartoon? Repeatable violence isn’t allowed. Shooting a gun is repeatable. Punching is repeatable. Running someone over is repeatable. And forget language. Even in syndication, there are words not allowed anywhere near children’s entertainment. “Dead or alive, you’re coming with me,” won’t be heard.
How well did RoboCop survive the translater to animation? First, a look at the the characters themselves. While Orion could license the characters, the studio couldn’t license the appearances of the actors. The actors own their looks. It’s the same reason why the character design for The Real Ghostbusters changed so much. However, the costume for RoboCop hid most of Peter Weller, so the character could be animated as accurately as the production could. Likewise, the ED-260, the upgraded version of the ED-209 from the movie, was accurate, with the new number allowing for differences due to animation.
For characters like Officer Anne Lewis and Sergeant Ross, the animation tries to be close to their looks without necessarily copying their actors. Lewis lost her curls, but the costume – body armour and a helmet with a visor – is close enough. Other characters, like the Old Man, have more extensive changes. However, Clarence Boddicker, the man responsible for killing RoboCop in both the movie and the series, has only minor changes. Boddicker appears in the opening credits and in the episode “Menace of the Mind”.
Animation helps with showing RoboCop’s abilities. The original movie used practical effects and stop-motion; the suit Weller wore slowed him down just from mass. An animated character doesn’t have that limitation, so having RoboCop lift a van by its bumper or run after a perp is easier to show. The technology of the future of Old Detroit changed, too. RoboCop and the rest of the police force use lasers. Some of the criminals still used guns, but since they were shooting RoboCop, there were no bullet wounds, no arterial sprays, nothing to worry parents about what their children were seeing.
Characterization of the characters was off. RoboCop comes off as his RoboCop 2 incarnation after community input forces several hundred new directives installed. Murphy acts more as Murphy’s cheerleader. However, the focus of the series is on action; dialogue is kept to a minimum. Bursts of dialogue aren’t much to build a character on. A few characters do change. SWAT commander Lt. Roger Hedgecock gets promoted from being a minor character in the original to a rival. Hedgecock isn’t a fan of automation and is trying to outshine Murphy. Casey Wong returns as the talking head of “Media Break”, the three-minute news segment that appeared in the movie.
A few characters were added. Dr. McNamara, an OCP designer working on the ED-260 project, wants RoboCop shelved in favour of his Enforcement Drone, and is the mastermind behind the plot in several episodes. The Vandals were a gang that caused problems in Old Detroit until stopped by RoboCop.
The series did try to work with some themes from the movie. Biting satire is out, but some still slipped in. A section of Old Detroit was called “Trickledown Town” and was where the old abandoned factories were. One episode, “No News Is Good News”, had a Geraldo Riviera parody, chasing non-stories until he focused on destroying RoboCop’s reputation. Even the idea of automating jobs came up for satire with ED-260 being pressed into traffic duty and causing collateral damage after an illegal lane change. Outside the satire, Murphy still had to come to terms with his humanity. While Lewis still saw Murphy as Murphy, others, including Hedgecock and McNamara, saw him as a machine or as a product.
RoboCop is a tough movie to turn into an animated series, especially one aimed at an younger audience. What is allowed in an R rated movie doesn’t get on television in prime time, let alone weekend afternoon for kids. RoboCop: The Animated Series had its fangs pulled because of the the new format. It tries, but the focus is more science fiction action, not violent biting satire of the Eighties. If it was a standalone work; it would be an entertaining series on its own. Tied to the RoboCop movie, the series is sanitized.
Lost in Translation as taken a look at a number of animated adaptations over the past few years, most recently with Final Fantasy: The Spirits Within and Sherlock Gnomes. Saturday mornings were filled with cartoons, some of them adaptations of other works. Nothing appears to be off-limits when it comes to animated adaptations. Some are well done; others, not so much.
With the deregulation of American television in the Eighties, toy manufacturers were allowed to create what were essentially thirty minute toy ads disguised as cartoons. While networks still had requirements, including non-violence, another frontier opened in the Eighties – syndication. Since the cartoons were being sold directly to the station, bypassing any network involvement, the rules were looser. Toss in a one to two minute public service announcement and the series can be sold as educational, even with lasers blazing and robots throwing each other around.
However, ads don’t work if no one watches them and writers rooms tend to have creative people in them who want to be more than ad copywriters. The result in the Eighties was a number of cartoon series based on toys that had complex storylines, character development, and ongoing plots instead of standalone episodes. Autobots may have stopped Decepticon plots, G.I. Joe may have prevented Cobra from World Domination, and She-Ra may have foiled Hordak but each series always returned to the baseline. A win by any of the factions meant the series ending. Jem may have had the most gains; her goal was to fund the Starlight Girls and make it big in the music industry. Ruining Pizzazz’s schemes was a side benefit.
The catch with cartoons based on toys is that the money for the series depends heavily on how well the merchandise is selling. While not an animated adaptation, Captain Planet and the Soldiers of the Future is a good example of what happens when a series is more popular than the toy. Captain Power ended on a sour note with the death of Pilot, a plot hook for a second season that never materialized. On the flip side, a popular toy gets more of its line released. Kids need only so many of Bumblebee, Man-At-Arms, or Kimber, even with new light-up features. The new action figure, doll, or playset needs to appear in the cartoon. Ultimately, the cartoon exists to sell toys.
Prior to deregulation, the typical animated adaptation was a cartoon based on a comic book character. DC Comics’ go-to for licensing was Superman, with cartoons featuring the character made in 1941-1943, 1966-1970, 1988, and 1996-2000. Marvel’s choice of character was The Amazing Spider-Man, with cartoons made in 1967-1970, 1981-1982, 1981-1983 (with Iceman and Firestar), 1994-1998, 1999-2001, 2003, 2008-2009, 2012-2017, and 2017 (ongoing), and appearances on The Electric Company in the Seventies. Even the third of the Big Three American comics publishers had their own series with Archie in 1968-1970, 1971-1973, 1974-1977, 1987, and 1999-2000 and Josie and the Pussycats from 1970-1972. Given the popularity of the characters, the adaptations were meant to draw an audience and sell advertising time. As other characters gained prominence, they, too, were adapted into cartoons. The X-Men has had several, in 1989, 1992-1997, 2000-2003, 2009, and 2011, and the DC Animated Universe, starting with Batman: The Animated Series in 1992 through to Justice League Unlimited ending in 2006 maintained quality through the run.
While comic and cartoon seldom interacted, there were times when the adaptation influenced the original. Batman: The Animated Series had several characters created for it that made the jump back to the main continuity, including Renée Montoya. The episode “Heart of Ice” introduced a background for the villain Mr. Freeze, one that turned him into a tragic figure, that was accepted as canon in the comics. After deregulation, though, the cartoon also became a way to sell action figures of the characters, an added bonus for the companies involved.
Animated adaptations of movies is where things get weird. While there are some films that do lend themselves to a continuation, such as Back to the Future, some movies adapted were aimed at a completely new audience. In most of those cases, the goal was to sell toys, but many of the adaptations were of movies that the cartoon’s target audience couldn’t see due to an R-rating. Rambo: The Force of Freedom (1986, a year after Rambo: First Blood Part II hit theatres) and Robocop the Animated Series (1988) are notable but also just the surface. The Rambo series features a Vietnam War veteran who decades later is still living the war. Robocop was a violent satire of the Reagan-era, over the top to the point of almost being rated X. Robocop could be turned into a police procedural, the violence toned down or even removed, though that does miss the point of the original movie. Rambo: The Force of Freedom turned John Rambo into a ecological warrior, fighting against polluters.
Other R-rated adaptations came out including The Toxic Crusaders, based on /The Toxic Avenger/. Even raunchy comedies aimed at younger adults got adaptations; Police Academy tried to bring the humour of the movies to a format for children. Some of the adaptations were to get a toy line out and sold; the adult market wasn’t and isn’t as lucrative as the general toy market. At the same time, the target audience only knows the characters through home video, edited televised showings of the films, or just pop culture osmosis.
With Back to the Future, the aim was an educational series. The draw of the film would be enough to get advertisers interested in buying airtime during the show, and the educational portions added to the sales value to networks. The Real Ghostbusters, while taking advantage of a PG-rated film* with potential for more stories, also had its own toyline. Both series had strong writing; The Real Ghostbusters even answered the question, “What would happen if someone hit Cthulhu with a beam from an unlicensed nuclear accelerator?” (The answer: He’d be very annoyed.) Animated adaptations of movies vary widely; some make sense, others are headscratchers.
With video games, the draw again came from the popularity of the game, especially in the Eighties. Video arcades could be found in every mall and Pac-Man Fever could only be cured with massive amounts of quarters. Home video game consoles came out, though with a slight dip in popularity around 1983 when Atari overestimated just how many people would buy an E.T the Extraterrestrial video game. Many of the early video games really didn’t lend themselves to any sort of adaptation, yet they were made. Pac-Man and related games were all about a yellow blob eating dots and running from ghosts; the Pac-Man cartoon had to create plots and give personalities to the games’ characters.
The explosion of the Nintendo Entertainment System on the market led to the North American audience being re-introduced to the Mario Brothers and a cartoon featuring them. This time, there was a bit more to hang plots on; after all, there was always another castle. With the NES and later systems capable of running games with more plot than “eat dots” or “don’t crash”, adaptations had more to build from. Some game studios took advantage of animated adaptations to add more details to their setting and characters; Final Fantasy VII: Advent Children and Mass Effect: Paragon Lost are good examples. Quality varied. Some cartoons were made to take advantage of the popularity of the video game, others managed to take advantage of the new format.
Animated adaptations of literary works were done mainly for educational purposes, introducing classic works to children. As a result, since the work would be one and done, the animation was a higher quality than that of a weekly series; there was time to do things properly. Not every animated film was for educational purposes; no one will argue that Gnomeo & Juliet‘s primary purpose is to educate children on Shakespeare. At the same time, cartoons of literary work aimed at children bring forward the characters and main themes in accessible chunks. The main requirement was that the original had to have something that was visually stimulating. The ghosts in A Christmas Carol and Scrooge’s redemption arc can make for compelling storytelling. A proper Victorian romance, or even an improper one, doesn’t make the cut. Sometimes, a studio just wanted to animate a favourite story, like Watership Down.
Not all animation is for children, though. In the Eighties, Nelvana released fare that was geared for an older audience. Rock & Rule, a take on Faust, featured popular rock musicians including Debbie Harry and Iggy Pop. The Devil and Daniel Mouse, Nelvana’s version of The Devil and Daniel Webster wasn’t as trippy, but was still aiming at an older audience, much like Heavy Metal had. Both films, being made by a Canadian studio, were aired on the CBC, which was available over the air and on basic cable.
Finally, there’s tabletop games. Animated adaptations of these fell under the same restrictions as ones for toys. Once the restrictions were removed in the Eighties, not many board games were turned into cartoons. Most board games are competitive, lending themselves to be licensed as game shows instead of cartoons. Even roleplaying games weren’t adapted, in part because of being a niche industry, in part from the “Satanic panic” of the Eighties. Dungeons & Dragons did get an animated series, but being the best known RPG will get attention from studios. It is telling that only two other RPGs, BattleTech and Heavy Gear, had animated adaptations. The built-in audience is small; each series relied on visuals, that of mecha combat.
The animated adaptation is not going away. It serves a purpose, most often to sell merchandise. Yet, the potential of the adaptation to go beyond just being an extended ad will keep an audience tuned in.
* Probably would have been PG-13 if the rating existed at the time.