Adaptations: Knowing What to Change

 

Adaptations

Knowing What to Change

When it comes to adaptations, it can be hard to get the balance right between them being loyal to the source and entertaining in their own right. You take out too much and you risk alienating the fans that made it so successful and ultimately worth adapting in the first place.

But you keep in too much and if you're making a film, it could end up being overly long and dragging because of it, which is the last thing you want from any kind of entertainment. It's a very tricky balancing act and though some definitely pull it off, others don't.

There are some cases where the people making it choose to make changes to the source material and though some changes actually make it better, others just don't make any sense. One such example is Starfire (Anna Diop) in DC's Titans, who was radically changed from who she is in the comics.

There, she's bubbly, angry, passionate, in love and incredibly wide eyed about a world that's very new to her. In Titans, though she starts off confused about who she really is, she's definitely not wide eyed and for most of the show, we don't see her in the usual stunning purple suit we're used to, or any memorable variation of it.

Aside from that, we rarely see her use any of her alien powers and instead of using make up or prosthetics to make her more closely resemble the orange hue of her comic counterpart, she and the rest of the Tamaraneans are black. This just doesn't make sense to me and really short changes the audience by failing to give them more otherworldly aliens that really stand out from everyday humans and have a distinctive look in their own right.

Instead, they just didn't try. Even if it's because of time or budgetary constraints, it's still better to really put the effort into giving the audience something truly memorable, for all the right reasons. A similar thing happened with Domino (Zasie Beetz) in Deadpool 2, who was black, with one white patch around an eye, instead of having the distinctive chalk white skin of her comic counterpart, with one black patch around an eye.

While I understand why she doesn't look like this, I still think it robbed the audience of a more visually arresting design. There are cases, though, where changing the race of a character didn't really change much of the look or spirit of the character, as with B.D. Wong as Professor Hugo Strange in Gotham, who still resembled the sinister mad scientist of the comics, in both personality and design.

Then in Doctor Strange, changing both the race and gender of the sorcerer's mentor, the Ancient One (Tilda Swinton), just didn't make sense and, with the right mix of performance, writing and directing, just wasn't necessary. Despite all of my complaints, there are some changes which have enhanced the films in question, like giving Dr. Otto Octavius a wife (Donna Murphy) in Spider-Man 2, while others are decidedly mixed, like making Adrian Toomes the father of Peter's crush, Liz Allan (Laura Harrier) in Spider-Man: Homecoming.

While giving Otto a wife added a greater tragedy to his story, making Toomes a father was arguably unnecessary. He was already a sympathetic character, in that he was trying to provide not only for himself, but for a crew that no longer had any work to bring money in, so he probably didn't need to be Liz's father as well.

The changes to Sandman (Thomas Haden Church) in Spider-Man 3 are also decidedly mixed. While making him a father to a sick daughter added a sympathetic layer, making him Uncle Ben's unintentional killer was unnecessary and not only made a simple thief into an unintentional killer, but muddies the waters as to whether Peter should feel any responsibility for his Uncle's death. That should never be the case, as his guilt over his inaction is the whole reason he became the hero we know. Without it, who knows what he would have been. 

Ultimately, when it comes to any adaptation, one of the most important things to remember is knowing what to change and if you should change anything at all. Sometimes the old adage really does fit: if it ain't broke, don't fix it; or, when it comes to adaptations, if it ain't broke, don't change it.

The Batman

Directed by: Matt Reeves

Written by: Matt Reeves

and Peter Craig

Starring: Robert Pattinson,

Zoe Kravitz, Paul Dano

and many more

Rating: 5 of 8

The Batman

Sometimes it can be hard to see what other people see in something. It doesn't even have to be a film, but can really be anything at all. Sometimes you just can't see why other people hate something, as I couldn't with Man of Steel or Pokémon Sword. But others, you just can't understand why people love something. Six years ago, I saw a lot of people delighted with Tom Holland's debut as Spider-Man and I just couldn't understand why.

To this day, I still can't see what other people see in his iteration of the web-slinger and now, I feel the same way about The Batman. A large number of people love the film, but I just can't see why. To me, the film is unsettling in all the worst ways and, though a number of other Batman films have been pretty disturbing, particularly The Dark Knight or Batman Returns, few have felt quite as unsettling as The Batman. Unfortunately, that feeling rarely ever lets up, so if you were looking for some respite, you're probably not going to find it.

Throughout the film, a very different version of the Riddler wreaks havoc on an already rather chaotic Gotham City by targeting the corrupt, in an incredibly violent way. Unlike most versions of the Riddler, instead of trying to prove how smart he is by leaving various clues, here he uses his twisted games to expose the city's corruption. I don't have so much a problem with his motivation as his costume, which is overly subdued, and Dano's performance, which is sometimes a bit too over the top.

When he's upset, he acts more like a child that isn't getting their own way and less like an angry, frustrated serial killer, which is what he is. If he had played even his anger with a bit more restraint, I would've been happier. His isn't the only performance I had a problem with, as I felt like Pattinson's Batman had the opposite problem, as he was overly subdued as both Bruce and Batman. He didn't have the same confidence I'd expect from Bruce, or the commanding presence I'd expect from the Dark Knight, so I was largely disappointed in his Batman.

I was also disappointed by just how underwhelming his relationship with Alfred (Andy Serkis), his loyal butler, is. Part of it might be because they have so few scenes together, so we don't really get the sense that they're that close. Though that might be the point, it's still disappointing to see a traditionally rather close pair being very much the opposite. Despite my disappointment with Dano and Pattinson's performances, I was pleasantly surprised by Zoe Kravitz, who was very good as a Catwoman on a quest for vengeance, salvation and much more besides.

Jeffrey Wright is pretty good as a Lieutenant Gordon, who has a much more active role here than he usually has. Though I would've liked more of Batman with Alfred, I have no complaints about how much we got to see him and Gordon together. On the other side of the law, John Turturro delivers a silky smooth performance as crime boss Carmine Falcone, who oozes with a quiet menace, though Colin Farrell's Penguin just doesn't fit, especially compared to other iterations, particularly Robin Lord Taylor's.

Though the film has a number of problems, one of it's biggest has got to be it's run time, which is just far too long. At a certain point, the film just wore on me and I really wanted it to be over, but even when I thought it was near the end, there was still more to go. Whenever you feel that way about a film, that's a really bad sign.

Apart from a handful of memorable performances, there are some other things to like about the film, like how Batman absorbs information, which is unique to this film. Aside from that, there's a very welcome note of hope further into the film, which feels like Batman could be moving from a more vengeful path into a far brighter one. This is especially welcome given the sense of horror that comes from Batman here. There's not enough of a sense of hope to balance it out, which is needed with a hero that seeks to do both.

But all of that isn't enough to recommend the film, as some of the key performances are uneven, the film is far longer than it needs to be and it's far more unsettling than I expected, which makes for a rather unpleasant viewing experience.

 

Batman: The Ankh

 Writer: Chuck Dixon

Artist: John van Fleet

Rating: 7 of 8

Batman

The Ankh

Everybody dies. No matter how much we might wish it wasn't true and that we could just keep on holding onto what we know, we can't. Eventually, we all have to get off this merry go round called life and move on, no matter what comes next.

But what if you couldn't? It's a conundrum faced by Egyptian Princess Khatera who, thanks to her father, can never die. No matter how many years go by, no matter what is thrown at her, she will survive - and it's driving her mad. 

The idea of living to see everyone you love die is it's own kind of horror. No matter how many times she loses those she loves, she can never move on. It'd only make sense if she lost herself to madness and evil and in some ways, she does - but is she truly lost?

Written by Chuck Dixon, one of the most prolific Batman writers there is, it's layered with some of the best writing I've ever seen from the writer. Before we even get to Gotham or Batman, Dixon brings us on a beautiful journey that begins with a father's love, then a startling discovery, until it finally moves onto just what that means.

Thanks to the Egyptian trappings, the story's filled with a wonderfully mystical quality that, surprisingly, fits rather well. Usually, Batman works best when he's kept close to the ground, facing uniquely twisted serial killers and sinister plots, but Dixon tells it in such a way that never betrays Batman's detective sensibilities, or it's mystical qualities.

Van Fleet also brings it to remarkable life, filling Dr. Katar's office with a stirring beauty, while an underwater battle has a strange kind of gloom. The only problem I have with it is how a certain Batman villain looks, at least in the face. With how Van Fleet draws him, he looks a lot more stupid than he should. Other than that, it all looks very good.

Overall, a very good tale, one that's well worth looking into.

Batman: Kings of Fear

 Writer: Scott Peterson

Artist: Kelley Jones

Rating: 6 of 8

Batman

Kings of Fear

Would the world be better off without me? It's a question a lot of us will ask at some point, with a number of different answers. Of course, Kings of Fear isn't about if the world would be better off without you, but whether it would be better off without you as you are.

It's a very different question to the above, but one that's definitely worth asking. In Kings of Fear, Scarecrow, the self-proclaimed Master of Fear, escapes the Asylum and wreaks havoc on Batman's mind, causing him to question his very existence. The Crusader is thrown through a torrid of turmoil, as he's forced to ask: would Gotham be better off without the Batman?

Through the annals of his own troubled mind, Wayne is presented with a world where he never became the hero we know. But instead of the city and, indeed, the world falling apart because of it, it's much better off. It's not overwhelmed by crime, chaos, or corruption, but instead much safer because of what he chose to do instead.

In this scenario, most of his enemies either went down far less violent paths, or met decidedly bloody ends before they could do any meaningful damage. Was this ever a real possibility, or is it all just a dark fantasy, conjured up by some deadly chemicals and lingering self-doubt? Well, that's up to you to decide.

For me, I struggle to see a world where Batman, or someone like him, wasn't necessary to take on the teeming crime and corruption of his city. He definitely didn't do it alone, but if it had just been a steadfast Jim Gordon taking it on, I'm not sure how he could have succeeded.

Though this is a very compelling exploration of Batman's psyche, I'm not sure if it makes sense for a more seasoned Dark Knight to have such heavy self-doubt. It might make more sense when he was just starting out, but I'm more used to seeing him be resolute in his beliefs.

Though Jones creates some incredible imagery, particularly when it comes to it's lead, it's antagonist and the nightmarish imagery he conjures up, there are some problems with it. At times, it can be hard to understand what's going on and I feel like if some of it was better laid out, it would be easier to follow. 

Other than that, though, this is both a rather compelling exploration of a hero's psyche and of the impact one man can have on the world.

 

Skyline #1

Writer: Chris Resnick

Artist: Chris Resnick

Rating: 6 of 8

Skyline #1

There are few stories quite as relatable as those about coming of age. Whether it's films like Spirited Away, Stand by Me, or Eighth Grade, it's not hard to find something to relate to. Sure, most people don't go looking for dead bodies, or have to work in a bathhouse because their parents have turned into pigs, but there's still plenty of relatable elements.

Whether you're a boy or a girl, most of us have to overcome significant challenges. Making our parents proud, standing up to bullies, or just asking your crush out on a date. They're everyday things, but they're still challenges that need to be overcome - and sometimes the hardest thing is just putting one leg in front of the other and trying.

Chris Resnick's Skyline is one such story, where a young Chris has to deal with a number of issues. Some are ones you'd expect a young fella to have to deal with, like bullying, while others are a lot more complicated, as sometimes you'll find the solution to a problem is a lot worse than the problem itself.

There's really a great ease to Resnick's storytelling and though there are four stories, it never feels like it's too much, or that it's just done to fill up space. The weakest story was definitely the last, which was centred around a prank phone call. I just didn't find it that funny and because of that, it just really didn't work.

The first works well enough, though it definitely isn't as strong as the second. It does end on a rather ominous note, with some younger, crueller neighbours moving in, while the older, friendlier ones move out. It leaves me curious whether things will get worse before they get any better, as it certainly seems that way.

The third has a wonderfully dreamlike quality and really evokes the feeling of wonder you got from a childhood summer in years gone by. In it, Chris and a group of friends head out on a lengthy excursion, never knowing what they'll find. But when they get there, they experience a day that they'll never forget. 

The only thing I'd criticize about the issue is the art, which really lets the issue down. Though the stories simplicity works in their favour, the art is overly simplistic and could just look a lot better. Other than that, it's a pretty good issue, which does a rather good job at exploring the various wonders and woes of childhood.

  

Magic Powder #1

Writer: Jeffrey Louis Schiller

Artist: Daniele Aquilini

Rating: 6 of 8

Magic Powder #1

 

Though there are multiple genres of fiction, there are few quite as storied or as old as fantasy. With epics like the Twelve Labors of Hercules, Homer's Odyssey and The Lord of the Rings, it can be hard to feel like anything you write could ever match up. And with such an active genre, it's important to make sure your work stands out. But with so much out there, how do you do that?

Do you tell the old hero's journey, set amidst a fantastical land? Or do you go for something a little more different? Ultimately, Schiller goes for the latter, telling a story of one shrewd villain using a sudden shift in power to his own twisted ends. It could well prove to be a very shrewd move for the author, as just as it's rather compelling to follow a hero's journey, it's perhaps just as compelling to see a villain's.

Magic Powder delivers a far more urbanized take on chaos and crime than you might expect from a fantasy comic, though if you're tired of the usual swords and sorcery, this could be just the thing for you. Instead of telling a tale of all these magical creatures getting to grips with an unfamiliar world, it's a world to which they already belong.

It's a world much like our own, though instead of being filled with mankind, it teems with all kind of magical creatures. It's also a pretty fast paced tale, that never really drags and once the first major event kicks off, it really kicks into high gear and never slows down.

So far, one of Schiller's gifts is brevity. There's such an ease to his storytelling, with him establishing a sense of mystery, tension and excitement by simply telling the story. He doesn't drag it down with unnecessary exposition and it's ultimately all the stronger for it.

Aquilini's art really matches both the spirit and speed of the comic and it's all the better for it. If there was just one thing I'd criticize, it's that I feel the text boxes would be easier to read in a different font. Thankfully, it isn't that bad and there aren't too many of them. I also think the name Dwarvfather would be better without the 'v'.

Overall, a very strong debut and if Schiller and his team manage to keep it up, you're really in for a treat. 

Turning Trix #2

 

Writer and

artist: Mike Aston

Rating: 4 of 8

Turning Trix #2

There's nothing quite as frustrating as a boring story. One that angers you for all the wrong reasons, while still bad, at least ignites a passion in you, even if it is a negative one. With those, you can rage for hours about just how bad they are, but just how much can you really say about a boring one?

Sadly, for me at least, this is one of those stories. Throughout, the issue really drags, with very little to make you want to keep reading. It almost feels kind of aimless, but even if it does have a goal in mind, I'm not sure if it was worth the journey. Most of the issue is spent on Roxy recounting a tale about her friend Trixi to Mike, a fella experiencing a little engine trouble.

It's not clear whether she does this to sate his growing curiosity, or just to fill up the time. Nevertheless, she still tells it, a tale centred around her sex crazed friend, a near death experience and the true cost of friendship. Though these are all pretty good ingredients, they never come together to make a satisfying whole.

The mix of prose, speech bubbles and art just doesn't work for me. Ultimately, how a comic book's story is meant to be told is mainly through speech bubbles and a lot of art. Prose doesn't even need to be added into the mix, but if it is, it has to be done well and it just wasn't here.

The art is alright and, as above, there's a certain vibrancy found there that just isn't present in the writing. But it just isn't there often enough to make the issue worthwhile. Like the last issue, there's a certain tongue-in-cheek quality to the writing, like the name of one of the ships, which is very sexual, much like a fair bit of the comic.

Ultimately, I just don't recommend the issue.