Happy new Year everyone – and apologies for the quiet last few weeks: Alex and I have been super ill and with the Xmas holidays it all clashed together. In any case, today I come to talk briefly about an anime Netflix has going on at the moment and that caught me 100% by surprise. I think a fair few of them would be right onto this. It is called GOKUDOLLS (or Back Street Girls as it is known in the English-speaking world), and it is one of the most bizarre things I’ve seen in a long time!!
I literally just went to see Venom this weekend gone. And, I tell ya, I came out of the movie thinking: ” Why were people so bloody annoying and judgy?!”. I will be honest, I didn’t have the greatest expectations because I am never 100% on board with the adaptations of Marvel stuff to movies (just my personal opinion!). The Spiderman universe, however, has always been one of my favourites, and I have religiously followed it – therefore Venom wasn’t gonna be left out. I have always had a dear love for symbiotes (in fact, writing a paper related about this! Keep your eyes peeled if you’re interested), and thought that the CGI looked good from the trailers. Plus Tom Hardy…when has be not been excellent? So off I go to see Venom… Continue reading “What Was the Fuss with Venom and What Happened with Daredevil?”
For the whole month of January this year I was fortunate enough to find myself exploring New Zealand, and while the whole country itself has many places that make you feel like you’re stepping right into Tolkien’s world, I specifically went looking for some of the exact locations that were used in the Lord of The Rings and Hobbit movies 🙂
So I’m going to take you through the places I went, and hopefully you’ll find something about some real world, and fictional locations at the same time!
The first location really has to be Hobbiton, as its the most obvious location for any LoTR fan to head straight for, and its exactly where I went first out of this list.
I’m sure everyone knows what Hobbiton is, but just to give some detail on where it fits into Middle-Earth; Hobbiton is a central village of The Shire, and is located on both sides of “The Water”, which is the main river running through The Shire. The village is overlooked by Hobbiton Hill, usually just called “The Hill”, in which lies Bag End, the ancestral home of the Baggins Family. The village consists of Hobbit holes, also called smials, as the dwellings, but there are also many other buildings of wood, brick, and stone, such as the mill and post office. The standard hobbit holes are most commonly lived in by the poorer Hobbits, aside from smials like Bag End, which are far more luxurious versions of the traditional Hobbit home. Most average hobbits would likely live in standard structures. Although it is located on the Hobbiton set, the Green Dragon Inn is actually located on the closest side of the nearby village of Bywater, just one mile away. Despite what you may think, Hobbiton isn’t actually the Shire’s capital. The title is held by the town of Michel Delving, which lies to the West, and is where the Shire’s Mayor resides.
Continue reading “Finding Middle-Earth in New Zealand”
It is Sci-Fi TV series ranting day boys and girls! Yeah! Sure you were waiting for this! What has got you ranting today Lilly, you may be asking yourselves? Well! Glad you asked! I am rather annoyed at the investment I have done in a couple of science fiction tv series and how their endings have been terribly underwhelming, almost making me feel like they might as well just try to push for another season and actually wait for the series to decline naturally because…What was that about?
I am talking about Orphan Black, yes. 5 seasons I have been attached to a screen following these clones and their stories. Not only that: I have even involved them in an academic paper I gave at a symposium at the University of Winchester just last year (March 2016). And…what for? Well for a very jolly ending, innit? I do not usually do spoilers, as you know, but today there is gonna be some of that so, from here on, please be aware *SPOILERS APPLY*.
Just this Sunday gone was the season finale of American Gods, and oh boy, did I enjoy that!!
I have noticed, however, that the series is still a bit low-key in the audience markets I am familiar with: the UK and Spain – and actually, from what I hear, it has not really made much of an impact in Europe yet. This has got me wondering and coming back to something I talked to you guys a while back, about modern fantasy and the certain decline we are experiencing these days. I wonder if perhaps American Gods has fallen a bit out of the radar because of that. But of course, here we have another problem to factor in, which is the network that distributes the show: STARZ. STARZ are the fellas that brought us the wonderful Black Sails, and I feel American Gods is having the same distribution issues. We do not get this network here in the UK, so it may become more popular when probably Sky decides to strike a deal for its consumption. Nevertheless, at the moment the only place where you can watch it in the UK is through Amazon Prime. Amazon Prime have been very clever about their deals particularly in what regards high budget TV shows of a geeky content: Vikings, Black Sails, Gotham, Lucifer, etc…So, we are having some of the coolest TV shows one can have these days, but thanks to network shenanigans, some of you folks are, sadly, missing them.
Into the Badlands, this series AMC has kinda made out of the blue and that although it seems incredibly popular in Spain, the USA and elsewhere, it seems the folks in the UK are just not aware of it. Why though? Who doesn’t want Daniel Wu doing some crazy Kung-Fu? Perhaps you just haven’t realise the show is actually out there. To be honest, I wouldn’t blame you. Unless you are very much into your martial arts and wuxia kinda thing, the announcement of the series was fairly underwhelming when the first season came out. AMC did a very short run of 6 episode for the first season back in 2015, and it has taken them 2 years to get season 2 out. A lot of people thought the show wa snot gonna get a second chance, and I suspect that may be the reason why the season why so short. Yet, I insist, why wouldn’t you give this series a go? It is refreshing, the acting is good, and it is just not more of the same. Perhaps we should talk about this so you can get what I mean.
Martial arts are not a popular theme for TV – at least not in the west, or in non-animated form. Why? Well, it may have something to do with its oriental traditions and the fact that every time a white guy tries to do something of the sort people call it white-washing – I refer myself to Iron Fist. (Now for those of you who do not get the fact that Iron Fist is NOT white washing, but part of the colonialist themed comics…I am not gonna bother, but I suggest you speak with my friend Nick from AUS about it, and he will give you a lecture on it. Please refrain yourselves from just slacking term like white washing on to things you do not fully understand…). Of course,e I do appreciate there is an audience issue there as well: that is the reason why China produces hundreds of martial arts films a year that we will never see on our screens. Okay, fine. Yet, you would sit through the Last Air Bender, Naruto, and a long list of shōnen animes which include this at the core of their narrative…This may be the time to expand your horizons. Now, what they have done here, is not just throw in some Kung-Fu cause it’s fun – well, that too – but because it is fitting.
If you’ve been a geek as long as I have you’ve seen your fair share of Badaptations. Hell if you’ve been a geek this past year alone you’re probably sick of them!
It’s no secret that as much as we love series, films and videogames that fit outside the norm of mainstream cinema the transition to the silver screen has always been a rough one. Some of the lauded worst-ever films have been attempts of shoving a popular franchise into a two hour box and calling it a Hollywood release. But is it really so hard to get it right? Are there really so many hurdles between source and screen? Well I welcome you to a brief tour of the absolute chaotic maelstrom of getting ANYTHING right in big screen adaptations. Grab your favourite comic and clutch your Nintendo DS because this is going to hurt.
Let’s start big: Why culture isn’t as cultured as we’d like to think.
The impact of cultural difference may not seem to be a challenging adaptation hurdle outside of the obvious points (like language, locations, common phrases) however there are many possibly alienating differences in your common anime and videogames. Consider for a moment that almost all anime (and most videogames) share a cultural fingerprint with Japan- a country where academic intelligence is lionised, eating at a noodle tent is like stopping by Starbucks and every entertainment label worth their salt is churning out teenage starlets by the dozen. It may not stand out in every moment of action but there are plenty of quirks in the daily life of the Land of the rising sun that outside audiences would find unconventional, and are often removed during the adaptation process… or replaced, as was the case with Pokémon swapping the term Rice Ball with ‘Jelly Donuts’.
After all, compared to major American cinema how many films do you see each year that take place entirely in a high school?
Then there are Theological differences- a lot of ideas tend to stem from the subtle cultural touches that come from a society’s deep routed religious history. We tend to be blind to it, about how even the simplest parts of how we see the world are moulded by it; what should and shouldn’t be illegal, the dividing line between sentient and non-sentient objects, our value against the greater universe. Even issues that evolve over time like the justification of prejudice against others. In entertainment these usually come across in the major themes, like someone’s personal struggle or the formation of the world around them. Movies like AKIRA, Spirited Away, Ghost in the Shell and countless more deeply reflect the theological differences that are more prominent in the east, thus making them much more difficult to translate to an audience that doesn’t relate to them. While the transhumanist philosophies in Ghost in the Shell could still be followed by anyone willing to put thought into their movie experience the more niche messages of reincarnation and the organic spirit may be lost. Cultural and theological differences form the greatest obstacle when it comes to making an adaptation of any property from a foreign country- and unfortunately the Hollywood studio system has a putrid record of translating these ideas.
To address the real elephant in the room I would like to call into question the ‘unspoken problem’ with the movie making mentality of Hollywood and the greater system, however that would be untrue. Audiences and critics around the world have been chastising the Hollywood studios for years now about their inherently flawed means of putting stories and adaptations to the silver screen however it has yet to see any results. It would be more accurate to call it a ‘frequently spoken problem’.
That problem being the curse of studio intervention and attempting to fit all properties through what I can only describe as the Hollywood Bottleneck. With dozens, if not hundreds, of critical eyes on a production from its inception and storyboarding right the way through to post-editing it’s no surprise that the amount of meddling can sink a project before its even reached completion. While we’ve seen countless instances of this in our chosen sample group, such as the more recent Assassins Creed movie being heavily cut for ‘simplicity’ and the Ghost in the Shell movie being entirely re-written from its source, adaptations from foreign sources are not the only victims. The most recent attempt at bringing the Fantastic Four superhero troupe to the big screen fell victim to so much studio dissection that its director Josh Trank released a statement about the film being a failure and not “his story” even before the movie premiered.
An unfortunate truth of seeing well-established stories from other mediums pushed through the ringer of Hollywood is that every step of production will see cuts and changes made for localisation, meeting the standards of the general audience, marketability, hitting the broadest possible age demographic, appeasing interests groups etc.
And while I would love to round off the point here and lay the entirety of the blame on the studio system I sadly cannot, though I will place MOST of it on them.
Let’s not forget the hand of the creator is a powerful thing. The person who forges a story or product will do so through their own lens and much of that creator will be seen in the work- this is an art philosophy that has existed for thousands of years. As such we can understand why there are dangers in passing the work of one individual into the care of another for adaptation, but this is not inherently a bad thing. A new set of hands can make changes that put new perspective on the work or allow a different generation to appreciate its message. An example being the translation of book to theatre; such as Gaston Leroux’s ‘Phantom of the Opera’ being passed to Andrew Lloyd Webber for the stage play. However one must be very careful that the artist the work is passed to be appropriate and understands the source material- not something we can say has often happened in nerdy adaptations. In fact some have been downright disasters.
As a case study let’s look at M. Night Shyamalan and his Avatar-less ‘Last Airbender’ movie. While there is no small task in crafting a three-season long show into a few clean cut movies it was not the inclusion of content, or even the changing of details, that destroyed this franchise and left them dead at just one movie out of the proposed three. It was that Shyamalan did not respect the style and voice of the original material and attempted to impose a style on top of it. Anyone familiar with the director’s works can immediately spot the tropes he employs: the colourless environment, the long sequences of slow, heavy sounding dialogue, a reliance on exposition instead of establishing shots or character action. These devices- frequently employed in his other works- starkly contrast the story he’s attempting to adapt and it shows in every single scene. This is a true example of the artist’s voice conflicting with the voice of the original work, something we’ve seen often in similar projects… Rocky Morton and the Super Mario Brothers, James Wong and Dragonball… And anything Uwe Boll touches. Ugh.
This leaves us with the double-edged sword. The curse of production that many would perceive as a great strength and is often used to berate the movie making culture for being unable to turn simple, low-cost source material into a ‘big budget’ worldwide release. The fact of the matter is that movies are a substantial investment of money as well as talent, but that financing is not simply for prettying up the existing material they work with. Everything in film carries a substantial cost, from the crew and actors to the visual and sound design to the intensive editing and promotional side. As a result we often see tens if not hundreds of millions spent on otherwise unimpressive products.
For example the applauded anime movie Dragonball Z Resurrection F cost a respectable 5 million dollars to produce and making ten times that in profit. By comparison the American production Dragonball Evolution film cost a whopping (though cheap by Hollywood standard) 45 million to create. That’s a considerable distance between the two and the simple fact that one is animated and the other live-action has a lot to do with that. We must remember that animation and digital animation are inherently cheaper than all the components that go into a live-action remake, not to mention the gross disregard for spending that goes into a production of this size.
Similarly the Ghost in the Shell (2017) movie cost 110 million but turned only 20 million in sales domestically, barely 50 more than that worldwide. Proof that with such elevated production costs the inevitable drop when a product fails is much, much more devastating. This also applies in the world of video games, which in their native medium are already more expensive to create that animated films or series. Assassin Creed (2007) cost 26 million to create on console and the movie adaptation a decade later cost more than 100 million above even that!
Is this weight of absurd money-spewing something we simply have to live with in film-making? Actually no, one of the highest grossing films of the last few decades was Paranormal Activity which had a price tag of approximately… 11,000. Barely even breaking five digits. But turned a mind blowing 200 million in profits around the world after audiences everywhere requested their movie theatres begin showings all across America and then in Europe.
The moral lesson to learn here is that the greatest profits come from good movies, regardless of how much they are budgeted. The same will be true of the best adaptations from geek culture once it begins to sink in that multi-million dollar botched projects are not the only way to bring an idea to a western audience. Though there is much speculation at this time the Netflix ‘Death Note’ movie is set to air soon and may be able to set a precedent that lower cost endeavours are actually the more profitable means of ‘westernising’ anime, but only time will tell.
Videogames and anime to this day suffer a taboo in the movie-centric western world. This sceptical eye of the public has thankfully been loosening over the past two decades, with videogames now becoming hot property in the world of media sales (though the actual products themselves are still shown very little regard) and despite anime never finding a mainstream hook it has achieved a loyal fanbase in the western audience- enough so to generate large scale conventions of its own.
While these mediums are not universally beloved in the east, with Japan and Korea being major players, they are not stigmatised for their medium or inherent design- with locations such as Akihabra Tokyo even celebrating them as a major source of tourism.
This same dismissal was only recently shared by the comic book industry here in the west, but with the rise of Marvel and the oversaturation of comicbook movies we’ve seen how vastly this has changed. But why are comic books the exception to this terrible curse while anime and games retain their stigma?
The simple answer is; they aren’t. Comics are not an exception; they have simply been present in the popular consciousness long enough and with enough exposure that we have adopted it into the mainstream. This is partly why the explosive success seems so universal in geek culture here, because it’s one of the few elements of nerd-centric entertainment that has appealed to such a wide fanbase and with constant new content from major studios. That isn’t to say it was an overnight success story- many people applaud comic movies as a running success but this simply isn’t true, there were dozens of missteps and failures leading to this point, with films like Batman and Robin (1997), The Fantastic Four (2005), The Hulk (2003) and Captain America (1990) to name just a few!
One argument often overlooked is the success of the loosely inspired adaptations. These are movies which take the original material as a jumping off point but create something new from them, like the surprisingly great 2014 film Edge of Tomorrow which was based on the light manga ‘All you need is Kill’. Similarly the original Matrix film pledges its inspiration to anime movies like AKIRA and Ghost in the Shell while still forming its own story and narrative, just with similar themes and tropes.
While this method is difficult to pull off and does require a talented writer familiar with the sources it may prove the most effective means of bridging the cultural gap.
But what happens when these kind of changes are made on a property that’s attempting, at least by appearances, to emulate its source material? This is a frequent cause of controversy in adaptations that make alterations to elements people believe to be crucial to the source. Often seen in cases of relocating a story to a different country or entire time period, or the dreaded ‘white-washing’ effect.
We’re in an unfortunate time where controversy can be called on even when the adaptation doesn’t overstep itself- simply because a rough history has conditioned us to be especially critical.
Even though the 2017 movie was terrible it should be recognised that Major Mokoto from Ghost in the Shell (the lead heroine) is SUPPOSED to be modelled after an American woman, and a model no less. So all the claims of whitewashing here are actually more knee-jerk reaction than actual outrage. Many sites have reported this ‘race-bending’ (as appears to be the new term) is a major contributor to the movies downfall, but is it really? Granted many examples of re-casting inappropriate actors has wounded similar attempts, like the appalling ethnicity twisting in Last Airbender which saw the Inuit main cast becoming white and the notably pale Japanese antagonists becoming dark skinned Indian and Arabic… even stranger to note Shyamalan as the director is an Indian man himself.
Before I’m bombarded with pitchforks and flaming love-pillows allow me to draw attention to an important factor; even in their native countries adaptations of games and anime are often BAD. Anyone seeking proof need look no further than the 2015 Attack on Titan movie, which flopped with audiences and critics despite the show being at the height of popularity. Similar issues can be seen with the upcoming Full Metal Alchemist movie which many predict will slump into a similar trap as previous pop-anime films. On the other hand there has also been a history of successes with highly-praised movies like Oldboy and Battle Royale seeing large renown internationally despite being based on a manga, with most people completely unaware of their origins. Also the incredibly popular Death Note live-action movies spawning multiple sequels and spin offs that have reached a worldwide audience.
With our collective minds aching from all these different problems its clear to see why we’ve hit so many stumbling points in our pursuit of perfect adaptations. The source material is rarely fitting of a cinematic runtime, we’re stacking writers and directors on works they have no connection to, the Hollywood studio system is poisonous even at the best of times and most importantly we’re attempting to adapt material that has a fundamentally different philosophy than most of the audiences its being re-directed to. Does this swarm of flies in the ointment mean we’ll never see a golden age of nerd cinema?
If comic books are anything to go by what we’re actually seeing is the growing pains of new genres. The failures that will eventually be recognised for what they did wrong not only as a means of critique but also a means of learning. It may take some time before we see our first breakthrough- our Batman Begins or our Ironman- but once that success comes we’ll see every studio holding rights to major anime and videogame properties doing everything in their power to imitate it. We have to remember that, even though our beloved franchises are outside the norm, if something makes money then everyone wants a piece of it. If cinema is a corrupt game of follow-the-money then we’ll leave a trail of silver dollars.
Also; If they dare mess up AKIRA with a badaptation we will riot.