Here is a conversation I find myself having way too often for my own good. A discussion of anime X comes up, which is itself an adaptation of source material X(1). I cite a number of things wrong with X, only to be told, “Well, all that stuff was in X(1) to begin with.” Meaning the adaptation was faithful enough to preserve a piece of source material that was redolent with flaws — something the creator in me rebels against on principle. Shouldn’t the point of an adaptation be to do the best possible justice to the spirit of the material, without being the wrong kind of faithful?
I love certain things, enough to want them adapted to other media for the sake of gaining a broader audience , but not so much that I want to see them adapted with no attention paid to how the original might well need to be rethought in the light of the new medium. Much of my writing in Let’s Film This revolves around that problem, where I look at the problems of adapting anime to live action and sometimes feel it’s only slightly less tricky than getting an elephant to parallel park. The endless array of issues posed by a live-action AKIRA will serve as a great example: you can’t film that material in the West without gutting it of so much of what made it what it is in the first place.
But I shouldn’t ignore the much larger, far more prevalent, and often far thornier issue of the way manga, light novels, and other common source material are adapted to anime — and how, the vast majority of the time, they’re often preserved a little too perfectly in the process.
Much of what I mean by this I hinted at in the opening paragraph, where something inexplicable or clearly flawed about a given show can be traced back to the source material being a certain way. You don’t dare tinker with the source material too much, because then you’ll be alienating the very fanbase that exists for the material.
Or so goes the conventional wisdom about such things.
One of the reasons why things are adapted across various media in Japan in the first place is because of something Ed Chavez of Vertical, Inc. once pointed out during a discussion of the light novel scene: the reason things are adapted to or from light novels (and, one could assume, any other medium) is to expand the existing demographic base for those things, because those demographics are often completely tapped out. Think of it as a Venn diagram with circles representing manga readers, light-novel readers, anime watchers, etc., with only the slighest of overlap between any two circles and barely any overlap between all of them at once. Hence adaptations, which increase the overall audience for your average franchise sometimes by a couple orders of magnitude.
So if that’s the case, why do some adaptations end up being slavishly faithful to a fault, even when they don’t need to be? This part I’m not as certain about, but I suspect it has to do with the sense — one not limited to Japan — that the creator knows best. Good or bad, s/he created the work a certain way for certain reasons, and we who have not created it but are simply adapting it need to respect that for better or worse.
I respect this thinking, while at the same time feeling it’s the wrong kind of fidelity. Yes, it’s good to honor the intentions and the work of the original creator, and not distort what they’ve done; what you end up with won’t deserve the original name. But you also can’t forget that any adapation is a chance to take a good long look at the source material and remember it’s just that: a source.
Some of these issues were exposed, ironically enough, by director Jaume Collet-Serra when discussing his proposed AKIRA live-action film. He ended up saying something I agreed with in principle — that the original comic wasn’t much of a human story — but he said in such a derogatory, unthinkingly offensive way that people rejected it. I don’t blame them: if someone told you “We’re going to adapt one of the seminal works of your subculture, even though it kind of sucks,” you’d have trouble not being offended, wouldn’t you? It’s hard not to see this as only one step removed, and maybe not even that much, from the kind of gratuitous Hollywood tinkering that gave us Dragonball: Evolution.
The other side of this, and the one which looms all the larger the more I think about it, is how anything we could call a flaw won’t always be thought of as such by the people who fall in love with a given work, whether long-time fans or newcomers. My feeling about AKIRA is that I love it because of its flaws — that the things that can be called flaws are at least as much also expressions of the uniquneness of the project. I don’t love the fact that the story manifests contempt for the human race, but I love the totality of its vision and its willingness to see its ideas through to the bitter end. Where my love for such things ends is where, I feel, the creativity of others ought to pick up — that they should see such things as one part of a dialogue, and be encouraged to continue that dialogue on their own terms.
Flaws may not be flaws to the fans. They may be what makes something worth watching in the first place. The problem is that we often have no way of telling in advance; it’s not as if there’s a rulebook we can consult that will put us in the clear as to when something — some absurd plot element, some eye-rolling twist — needs to be ripped out for the good of the whole.
Maybe, in the end, it’s best to be faithful to the flaws, too, and let the work as a whole stand or fall on its own. But that doesn’t mean a prospective adaptation should leave all revisionism off the table — especially if it means revisionism of approach.
Still, that has to be balanced against what you gain from the changes. Many people decried the way Flowers of Evil looked nothing like its source material; why tinker with a perfectly good thing? I saw it as a failed experiment, but an interesting one nonetheless, one well worth being exposed to if only to indicate how it might be better used in another production. On the other hand, I thought the remake of Berserk actually suffered somewhat from having higher production values, by giving us a convenient level of remove from the blood-soaked, horrific, passionate core of the story. Both experiences provided lessons that were valuable, even if they came at the cost of the work itself.
The reason a work has an audience at all is because of what it is in its entirety, not because of any one thing. If a work is changed in adaptation, it should only be because the new whole that is produced will be at least as good, or better. And who can guarantee such a thing? No one, but then again creativity of any stripe has never been about guarantees.