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.
In previous examinations of works adapted to gaming, Lost in Translation focused on just one original work being turned into a game. This time around, multiple original works are being adapted into just one game system, the Cortex and its successor, Cortex Plus.
The ideal works to adapt as tabletop role-playing games provide a larger setting, one where the original provides for a larger setting than what the main characters there experience. This is the case in three previous game adaptations examined, Star Trek, Star Wars, and 007, where players can take on similar roles as the main characters in both franchises. Even the Buffy RPG could delve into both past and future, allowing players to take up the mantle of the Slayer in a different time. At the same time, if players want, they can still take the roles of the existing characters. RPGs need to keep that flexibility and allow for new characters with similar capabilities as existing ones.
The Cortex system debuted in its early form with the Sovereign Stone Game System, which was based on Margaret Weis and Tracy Hickman’s Sovereign Stone novels. Since then, the Cortex system was refined and was used as the base for a number of licensed games published by Margaret Weis Productions – Serenity, based on the movie*; Battlestar Galactica, based on the rebooted series; Demon Hunters, based on videos by Dead Gentlemen Productions; and Supernatural, based on the CW TV series. A stand-alone version of the Cortex rules, the Cortex System Role Playing Game, came out in 2008, after Serenity, Battlestar Galactica, and Demon Hunters had been released.
The works adapted share some common features. Both Serenity and Battlestar Galactica are science fiction set far from Earth and have characters who spend much of their time in spaceships. Demon Hunters and Supernatural both deal with supernatural threats. All four original works have a devoted fan base, one that is likely to play RPGs. At the same time, each of the original works has its own tone. Serenity, the movie, was based around a government cover-up that affected one of the core characters. Battlestar Galactica showed the last of humanity escaping a relentless enemy intent on exterminating every last human. Demon Hunters is a comedy. Supernatural is the story of the Winchester brothers fighting against destiny, Hell, and Heaven.
Fortunately, game mechanics don’t always set the tone. While there are games where the mechanics were written to support the tone of the game, a more generic system can be adapted to the desired result. The Serenity RPG presents the game in terms of the players being the crew of their own small ship trying to make a living while staying true to themselves. Battlestar Galactica focused on survival in an environment that is inherently deadly, with the push to find the lost planet, Earth. Demon Hunters focused on comedy, with additional writing from Dead Gentlemen contributors and bonus orientation DVD. Supernatural placed the focus on the players being a small group of supernatural hunters that banded together. Each release added rules needed for the setting. Serenity and Battlestar Galactica had rules for starships, with Galactica having expanded rules for dogfighting in space. Demon Hunters added rules for creating demons and spending plot points to summon the Purple Ninja. Supernatural also had rules for creating the supernatural and exploiting their weaknesses.
What helped Cortex be flexible enough for the range of adapted works is its simplicity. The core mechanic involves using dice – the full range of regular polyhedrons – for attributes, skills, traits, and complications. Players roll the dice from appropriate attribute, skill, and, if any, trait against a difficulty number set by the GM, modified by dice from the character’s applicable complications, again, if any. Skill lists can be modified by setting; where Pilot would be a given for a Colonial Warrior to have in Battlestar Galactica, a group of hunters in Supernatural might just have the one character who can fly a small plane. Adding setting-specific rules, such as details about the Cylons, builds on top of the existing core rules, allowing for specialization.
Cortex worked well for settings that focused on action. However, not all settings focus on action. Gaming has seen a movement to expand towards a more narrative-driven focus, moving away from the hobby’s wargaming background. The intent is to tell stories, not chop down opponents. While Cortex might not have been able to take advantage, its successor, Cortex Plus, was developed to do just that.
Cortext Plus developed into three streams – Cortex Plus Drama, focusing on the relationships between characters; Cortext Plus Action, looked at what the characters did; and Cortex Plus Heroic, which combined the Drama and the Action. The core die mechanic remained but was heavily modified as needed. The game also added more details for characters, including character distinctions that could help or hinder depending on the circumstance. Traditional hit points fell by the wayside. Instead, characters could suffer from stress or complications imposed on them. If either got too high, the character would be forced out of the scene, either because of injuries, exhaustion, or escaping.
The first Cortex Plus game released was the Smallville Roleplaying Game, licensed from the Smallville TV series. The RPG used the Cortex Plus Drama system, reflecting how what the characters on the show were driven by their relationships with each other. Instead of rolling attribute and skill, players rolled value and relationship, adding in relevant resources and assets, and keeping the best two dice rolled. Players wouldn’t always be rolling against the GM; sometimes, two characters could work at cross purposes, coming into conflict. Character creation was a group effort; relationships between player and non-player characters were set up in the first session. The main drawback with the game was that a large number of players meant that the relationship map grew complex, It also meant that all the players had to show up for the first session, something not all groups can handle. That said, the system reflected the show; the values, replacing attributes, went to what motivated the characters. Clark Kent’s highest rated value, Justice, and lowest, Power, were true to his appearance on the show.
The first Cortex Plus Action game released was based on the TV series, Leverage, which was about a group of five con artists and thieves using their skills to help the average person who is being run over roughshod by the powerful and corrupt. Leverage used the same attributes that were in the Cortex games above, but instead of skills, characters had roles. The roles came directly from the TV series – Mastermind, Grifter, Hitter, Hacker, and Thief. Every character would have a key role, a minor role, and roles that would make things interesting for them. Each attribute and role had a die type assigned, which would be added to the player’s dice pool when it came time to raise the stakes. Characters also had distinction, which could work for or against them in the dice pool. For example, if Parker, the thief of the Leverage crew, needed to break into an office on the 34th floor of an office tower, she could decide to repel down the side of the building from the roof. To do this, Parker’s player would her Strength die, her Thief die, and could add her “Crazy” distinction and her “No – Really Crazy”, giving her four dice, though only the highest two would be added together. Parker’s player could decide that “Crazy” merited the usual d8 for the distinction, but then say that, because she’s going down facing the ground, “No – Really Crazy” would add just a d4 and provide a plot point.
The Leverage RPG added rules to reflect the show’s episode structure, which included flashbacks to show the characters setting up twists to defeat the Mark. The game allows for players to set up their own flashbacks, allowing them to get an advantage when needed. This allows the crew’s thief to place a convenient smartphone in a drawer where the crew’s hacker can grab it later without the players spending two hours of gaming working out all the contingencies before committing their heist. The Leverage RPG works to keep the story flowing; there’s no real need to spend hours on a plan when the players just need to work out a general idea of what they want to do.
The next Cortex Plus game out was also the first to use the Heroic approach. The Marvel Heroic Roleplaying Game featured the characters from Marvel Comics and was the fourth licensed game based on the Marvel Universe. The game pulled in ideas from both Smallville and Leverage, adapted to reflect the needs of the new setting. Instead of Smallville‘s values and Leverage‘s attributes, Marvel Heroic used affiliations, or how well a character worked with others. There were three types of affiliation, each getting a different die type – Solo, for characters like Daredevil and Wolverine, who worked best on their own; Buddy, for characters like Spider-Man who often works with another hero; and Team, for the likes of Captain America and Cyclops, who work most often with a large group, such as the Avengers or the X-Men.
Marvel Heroic also uses the stress system from Smallville, again, modified. Instead of taking six different types of stress, Marvel Heroic characters only have three sources – physical, mental, and emotional. It is possible for Spider-Man to keep up his constant wisecracking to force an opponent to break down and give up, a result that the previous three Marvel-based games didn’t have a mechanic for. Skills were replaced by specialties, though their use is similar. The mechanics remain the same; a player builds a dice pool and takes the best two results and add them together.
The most recent game from Margaret Weis Productions was the Firefly RPG. The license for the Serenity RPG had expired, but the company had worked with Fox to get the license for the TV series*. The Firefly RPG uses Cortex Plus Action, modified from its first incarnation as the Leverage RPG and taking some ideas from Marvel Heroic. Firefly has attributes, but only three; Mental, Physical, and Social. The skill list is shorter than Serenity‘s, but are broader. The game introduced rules for spaceships, since the TV series was set on one. Players could not only create their characters but their own ship, turning the vessel from a stat block into something that the players and their characters could care about. The game also modified the distinctions. Instead of just giving a bonus die for the player’s dice pool, distinction had some extra mechanical bits that helped players distinguish their characters. The rule book also uses scenes from the TV series to illustrate how the mechanics work, giving players a way to follow the action.
With four licensed games using Cortex and another four using Cortex Plus, how did the adapting fare? At its core, Cortex is a simple, flexible system, in the same vein as the Cinematic Unisystem rules used by the Buffy RPG. This allowed the developers to tailor the mechanics to the adapted setting by changing skill lists and adding and removing talents and complications. It is possible for characters from one of the published games to be used in another; it would be odd to see a member of the Brotherhood of the Celestial Torch on board the Rising Star, but less so if that same member met the Winchesters.
With Cortex Plus and its different streams, adapting the mechanics to the setting was a design goal. This means that characters from the different games wouldn’t interact as easily – Spider-Man has no relationship ties to anyone from Smallville, for example – but the games reflect the TV series they’re meant to portray. Smallville is a super-powered soap opera while Leverage is a series of heist mini-movies, and their games reflect those realities. The key is to choose the correct Cortex Plus stream to reflect the core of a work. So far, the developers have been able to do just that.
Speaking of the developers, Cam Banks, has licensed Cortex and Cortex Plus from Margaret Weis Productions. The end goal is to create a game, Cortex Prime, that takes in all the prior work mentioned above and produce not just the rules but settings that aren’t necessarily licensed works. His studio, Magic Vacuum Design Studio is running a Kickstarter, with stretch goals that will include a number of pre-made settings with the new game.
* The Serenity and Firefly licenses had an inherent problem – different studios held the licensing rights. Fox has the rights for Firefly, but Universal had the rights for Serenity. This split meant that information in one work could not appear in the licensed game of the other. Players, however, aren’t restricted and can pull in characters and ideas from both works, but any work needed to stat up something not covered by the game fell to the GM.
Marvel is riding high with the live action movie adaptations of its books. This wasn’t always the case. The first Marvel comic to be adapted for the big screen laid an egg. However, Marvel had a better record on television, with The Incredible Hulk lasting from 1977 to 1982. The success of Hulk brought the character into mainstream attention, with the series having an influence on the character’s movie entry in Marvel’s Avengers Initiative. That same success led to the first authorized Captain America movie*.
Captain America was a 1979 TV movie starring Reb Brown, known for his roles in Yor and Space Mutiny, as Steve Rogers. Steve is an former Marine turned drifter artist, hoping to travel along the California coast line in his van. He receives a telegram from Simon, played by Len Birman, who wants to talk to Steve about his father’s research. The Full Latent Ability Gain, or FLAG, is a serum that can maximize the human body’s potential. FLAG has a drawback; the serum causes cells to degenerate faster, leading to death. Steve declines the offer to test the FLAG serum on himself. and heads out.
Fate, however, brings him back. Steve finds his friend, Jeff Hayden, injured in his own home, attacked by a thug sent by Harley, played by Lance LeGault, on the orders of Brackett, played by Steve Forestt. Brackett wants a filmstrip** of Hayden’s work to use to complete a neutron bomb and wants Steve out of the way. Harley lures Steve with the knowledge of who killed Jeff. Steve shows up at the out of the way location at night, where Harley demands the filmstrip. In the ensuing chase, Steve is forced off the road and over a cliff on his motorcycle.
To save Steve`s life, he is given the FLAG serum while in ER. Unlike the previous test subjects, there is no cell rejection; the serum works. Steve’s healing accelerates under the influence of the serum, but he has no desire to find out what else FLAG has done for him. He doesn’t get to stay ignorant; Harley kidnaps him from the hotel, taking him to a meat plant. Steve breaks away from his captors and plays cat-and-mouse among the sides of beef. His newfound strength lets him take out Harley and his men, including through the use of a thrown slab of beef, the only object thrown in a fight in the movie.
Steve talks with Simon, who mentions the elder Roger’s nickname as a crusading lawyer, Captain America. Simon offers a job as a special agent, which Steve accepts. Simon arranges for extra equipment, updating Steve’s van, adding a new motorcycle with jet assist, and a bulletproof shield that can be thrown as a deadly weapon. While he tests out the new motorcycle, Brackett sends men to chase him down by helicopter. Thanks to the new motorcycle and FLAG-enhanced abilities, Steve manages to turn the tables.
Brackett is busy working on Hayden’s daughter Tina, using her to figure out where the filmstrip was hidden. He pieces together what Hayden meant when mentioning his wife with his final breaths and finds the filmstrip. Brackett takes Tina hostage and the filmstrip to his weapons expert, who can finish the neutron bomb with the information on the strip. The bomb gets loaded on to a truck and shipped out. However, Steve’s enhanced hearing picks up a clue on where Tina could be, leading to an oil refinery owned by Brackett.
Simon provides one last present to Steve, a costume to help hide his identity as Captain America. Cap heads to the refinery to rescue Tina and stop Brackett. He sneaks in but is spotted. The alarm sounds, but Steve’s enhanced abilities are no match for the guards. Tina is rescued, but the neutron bomb plot is revealed. With some research, the target is located. Steve and Simon fly off to stop Brackett.
A second made-for-TV movie, /Captain America II: Death Too Soon/, followed, with Reb Brown back as Cap and Christopher Lee as the terrorist, Miguel. Miguel holds a town in check with a virus that causes rapid aging. Unless paid or unless Cap can stop him, Miguel plans to gas a city and withhold the antidote, letting the city die of old age in hours.
The TV movies take liberties with Cap’s background. Captain America: The First Avenger shows the origins well, with Steve Rogers volunteering for a super soldier program and gaining super abilities as a result, and only being frozen after a fight against the Red Skull. In the comics, Cap is found by Namor, is thawed, and becomes one of the founders of the Avengers. That is a lot of backstory to fit into a two-hour TV movie, so the change to an former Marine makes some sense. Steve became an artist once thawed out, so that part is accurate. In 1972, thanks to the Watergate scandal, Steve gives up the role of Cap out of disgust with the government and becomes Nomad, a wandering hero. That storyline, though, only lasted a year. The change to California is explained by keeping costs down; the studio was based in the state.
In the Seventies, the main names when it comes to live-action superheroes were Wonder Woman, The Incredible Hulk, The Six Million Dollar Man, and The Bionic Woman, all characters with similar power sets – super strength and endurance, all easily portrayed with practical effects, camera angles, and sound effects. The cost of energy blasts in post could be prohibitive, as seen with the original Battlestar Galactica, but jumping higher than normal uses the simple camera trick of running the film of someone jumping down in reverse. A drifting hero working for the government covers all the TV series mentioned; it’s a concept audiences should be familiar with and works for Captain America.
Reb Brown, while not the best actor around, is earnest as Captain America and, just as important in a superhero series, has the physique needed. The earnestness helps when considering that Cap was often considered a Boy Scout in the comics of the time. The music by Mike Post and Pete Carpenter is very Seventies with brassy horns and doesn’t quite survive the passage of time. The concept, a hero working for a secret organization, is common, from the OSI in The Six Million Dollar Man and The Bionic Woman to the Foundation for Law and Government in the later series, Knight Rider.
Captain America and its sequel are very much Seventies-era made-for-TV movies, suffering from budget limitations. They take liberties with Cap’s background, but keep close to the characterization of the time. The needs of gaining a television audience forced some changes. The movies are definitely curiosities, and make a valiant effort, but fall short as adaptations.
* The Turkish film 3 Dev Adam, released in 1973, featured Captain America fighting Spider-Man and was not authorized by Marvel.
** A filmstrip is a series of still photos placed on a strip of photographic film as a means of presentation, much like an early version of a PowerPoint presentation, often with an accompanying recording on cassette, vinyl, or reel-to-reel with signals to let the viewer know when to change the slide.
Marvel Comics had several big announcements since the last news round up. Let’s get to what’s being adapted and by whom.
Marvel and Sony come to a deal over Spider-Man.
Spider-Man is moving into the Marvel Cinematic Universe, joining the likes of the Avengers. Sony Pictures still has the rights to create movies with the character, but the deal should allow Marvel to use elements from the Spider-Man comics such as the Daily Bugle in its own releases. Marvel has shuffled its release schedule to bring the next Spider-Man movie out without competing with the Marvel Studios releases.
X-Men TV series in the works.
Fox has confirmed an X-Men TV series is in development, pending Marvel’s approval. Little of what the series would entail has been revealed.
Casting for AKA Jessica Jones announced.
David Tennant joins the cast as the villainous Zebediah Killgrave, also known as the Purple Man. Tennant joins Krysten Ritter as Jessica Jones and Mike Colter as Luke Cage.
Who you gonna call?
Meet the new Ghostbusters for the gender-flipped remake. Melissa McCarthy has signed on while negotiations with Kristen Wiig, Leslie Jones, and Kate McKinnon are ongoing.
Fushigi Yuugi gets stage treatment.
The manga and anime, Fushigi Yuugi is making the transition over to the stage. Fushigi Yuugi, which translates as Mysterious Play, follows the adventures of Miaka as she falls into another world filled with magic and danger.
Indiana Jones reboot may be in works.
Disney bought the rights to the Indiana Jones franchise and are looking at Chris Pratt as the eponymous hero. Pratt is going to be busy…
Chris Pratt in talks for The Magnificent Seven remake.
The remake of The Seven Samurai is being remade. Denzel Washington has already signed on for the remake.
Harper Lee releasing a follow up to To Kill a Mockingbird.
The sequel, Go Set a Watchman, features Scout Finch as an adult. The novel had been written during the 1950s, but was set aside on the advise of Lee’s editor at the time. The new novel will hit bookstores mid-July.
LEGO announces next licensed set, featuring Doctor Who.
Everything is more awesome in LEGOland as the Doctor and his companions join the massive LEGO line up. The project just left the judging phase, so it may take some time before the LEGO TARDIS hits the shelves. Also announced, a LEGO Wall-E set, with the submission made by one of the movie’s crew members.
Stargate reboot movie signs writers.
Roland Emmerich’s reboot/remake of the original Stargate movie has signed Nicholas Wright and James A. Woods as screenwriters. Emmerich will direct and co-produce, along with original co-writer Dean Devlin.
The Man from UNCLE trailer now out.
The first look at Guy Ritchie’s take on the TV series, The Man from UNCLE, is now out. The movie stars Henry Cavill as Napoleon Solo, originally played by Robert Vaughn and should be out in August. Armie Hammer is on board as Illya Kuryakin, previously played by David McCallum.