#Adaptation risks

[skshorts]

Deadpool 3 Could Adapt Marvel's Darkest X-Force Story - But It's A Huge Risk

When Disney acquired 20th Century Fox, the question on many superhero fans’ minds was how Marvel characters like the X-Men and Fantastic Four would join the Marvel Cinematic Universe (MCU). One highly anticipated addition to the MCU is Deadpool, and the upcoming “Deadpool 3” promises to be a universe-hopping adventure. Speculation suggests that the film might draw influences from one of the…

[mothcpu]

smoke bomb

[butteredbreadfacedown]

i love the way percy got annabeth out of the fight, it was just so them. the look of acceptance and trust in her eyes as they passed the baton, the way he readied himself to sacrifice himself for them, the shock when she realized someone cared about her enough to lose their life so long as she can live hers. it was so them in the way that their first kiss was so them, the same as their sharing the weight of the world was so them, the way that her taking the knife meant for his lower back was so them. they are always dancing around one another, showing their love for one another by putting their own lives in the line. they have a very reciprocal kind of love, the kind that feels like each time they care for one another is them getting back at the other person for caring about them the time before.

[fromtheseventhhell]

It's crazy that people still uphold show!Sansa as a well-written character and pretend that liking her is the pinnacle of feminism when it would be infinitely more impactful to acknowledge her terrible and misogynistic writing. This is the same character who, while written by two men, was thankful for the abuse she suffered because it allowed her to grow. The same character who we had to be told was smart because the writers were too lazy to develop or show her intelligence. The same character who had to rely heavily on the men surrounding her and ended up accomplishing nothing on her own merit ( and no, thinking that she deserved to be Queen doesn't mean that she earned it). She is not well-written, she is not complex, and she is not a feminist character. Which is fine! If you enjoy her then good on you, but please stop pretending that she's something she isn't just because you feel the need to justify liking her character

[daisythornes]

speedrun of things that cause me agony in the wondla tv series trailer:

whyyy did they have to make the sanctuary so sterile and minimalistic? the book sanctuaries had this charming clunky 70s sci-fi design to them – they were blocky and durable and Eva's was tangibly lived-in, even worn in some places, because that was the point! they were an experiment that outlived their usefulness, but people kept living in them & they felt like it. this feels like Kim Kardashian's creepy white torture house.

"this... is me." has this line not become extremely passé in trailers, like almost to the point of parody?

that is NOT Muthr. idk who that is, but she is not mothering. it's like they took her book design and stripped away anything that may have been even slightly challenging to the cocomelon-smoothed zeitgeist of current animation. she's just so... nothing. she doesn't even look like a robot so much as like.. the lame soul design from pixar's soul. book Muthr looked WEIRD, but you can see the ways in which she's literally a synthetic + superhuman recreation of a Mother Figure: her head shape mirrors the beehive hairdo, her big eyes are saccharine sweet, she has four arms bc she always needs to do a million things at once, etc. i get that this version of Muthr was probably way easier to animate, and i don't even think they had to stick to the original design 100% as long as they still did something interesting for her, but. they didn't.

rip Eva's sick as hell hairstyle. :( seriously, her complicated braids were so important. bc 1) they were an homage to Dorothy's braids in the wizard of oz, the book to which the whole trilogy is a love letter. 2) they immediately gave her a unique visual identity as a character. 3) they contributed to the world of Wondla feeling genuinely strange and foreign to our current one. 4) they subtly spoke to things like Eva's boredom and loneliness and all the time she had to herself.

the paltry mini braids and single low bun they gave her instead are WEAK. again, they didn't have to follow the books to the letter, but. they did kinda need to give us something more memorable and distinctive than this.

i mean... there is ofc the obvious question of why'd they make her 16 instead of going on 13 like she was in the books? but also, perhaps even more crucially, why does she look like a whole ass adult woman? wondla is very much a coming of age story, and it's really good at capturing the messiness of that experience in every way down to its character design. this Eva doesn't look messy, she looks like an influencer. also i hate that current disneyesque cgi character design.

her outfit's like... fine. but it was so fucking cute in the books. cute and ultra utilitarian, and unlike anything i'd ever really seen before. can't a girl have a vest with a funky collar, cool billowy balloon sleeves, and scrunchy knee socks? do yknow how many kids would want to be Eva for halloween if they simply gave her an outfit that looked cuter? they're leaving money on the damn table.

she wasn't done with her training for life on the surface in the books, and that was important. :/ not that anything could've really prepared her, but the fact that she was so young made her terror and anger all the more palpable. i guess i don't think it's inherently terrible for her to be a bit older in adaptation, but idk, at least let her retain that trial by fire/still kind of a scared kid quality that's integral to her arc.

the placement of the 'wondla' letters on the page makes no sense. it's meant to be the wonderful wizard of oz (or the wonderful wizard of oz by l. frank baum. i forget which, but ONE of those for sure), so by all accounts the l and a shouldn't be right next to each other like that, there should be more space between those two letters.

now i don't fully remember, but i super don't think that 'Eva find me' note was in the books. Eva would've been way more obsessed with it if it was. in the books, she doesn't know the 'wondla' page was actually left for her, it's just this strange anomaly she finds that gives her hope, but she sort of creates that hope herself. its origin is an honest to god mystery until the second book, and therefore, the meaning that Eva gives it is what really comes to define it.

it's not just that no one had seen a human in a long time, most aliens on Orbona had never seen a human at all until Eva came along. that's a big difference! though, this audio does sound chopped up from multiple sentences, so maybe disregard this.

i don't like that they gave away the 'Orbona was once Earth' twist right off the bat. i know it's not a wholly original trope in sci-fi, but this is a middle-grade/family series, and it straight up blew my mind to see as a kid that hadn't ever really read true sci-fi before. and Orbona is SO bizarre, and Eva is SO desperate to find other humans, that the reveal is extra jarring and bleak, and it creates such powerful tension. why give the impact of that away in the trailer?? why not just let people think she's stuck on an alien planet until they get the full emotional gut punch when they actually watch it for themselves?

where's the lake in Lacus? :/ that was... kinda the basis of Lacus' culture and design and all. like ok i see some water, but Lacus should be almost more water than village.

Otto's design!! why god why.

why is Otto furry, why are his eyes Like That, etc.

nooo, don't show the ruins of New York in the trailer, that's for the audience to discover in horror along with Eva.

also why does Otto (i think that's him talking at least?) sound like that? thumbs down.

what are the. uh. shark tale-looking creatures running on water. they're very shark tale-looking (derogatory). they don't look like they belong in this series?? like did this footage just get misfiled?

egads it's coming out at the end of this month. i'm gonna watch it of course. but the whole time i'll be thinking about what could've been. and i'll reread the books, too. >:|

[muxas-world]

Luca abut the honda rumors and lack of succes "I don't care abaut the positions aoutside of the podium i want to get there the rest i dont care "

[sskk-manifesto]

The thing is that episode 3 must end with a cliffhanger. It must end with Akutagawa's throat being slashed but it not being clear yet if he's fatally dead or not– no better narrative choice could be made. On one hand, it's a great cliffhanger, leaving the audience on edge for one week (or, in the case of when chapter 87 was released, for one month), have them panic over whether Akutagawa is really dead or not. On the other, and this is the true narrative brilliance, nothing is more impactful than the chapter 88 Akutagawa panel - the “you damn fool // hurry up and go” panel - to be at the start of the chapter. At first, it wouldn't look like a wise storytelling choice, would it? Such an emotional and impactful scene, one would expect it to be placed at the end of a chapter, as climax of the action. And yet, I can't help but think there's some kind of spectacular emotional impact to it, perhaps accentuated even more by the unusual narrative choice.

Akutagawa's smile is devastating, it's heartbreaking, it's something the reader can not stop thinking about; and yet, the story cruelly keeps going on. Just like Atsushi is immediately pushed to go on, to take the next step in the fight to save the agency, and is consequently left no time to grieve, the panel covers just a tiny part, a tiny segment of the chapter / episode, and the audience is compelled to go on with no time to recover, no way to elaborate what happened. The events of the story and the way the story is narrated are both telling the same thing: even when time seems to have stopped, the world around keeps spinning, and there's no way to make it stop. Akutagawa's smile is disarming and devastating, and it leaves the audience struggling to keep focusing on the rest of the episode as its image is printed in their minds (and, quite canonically, Atsushi's mind); but the episode, merciless, keeps going on, and you are forced to keep going. The plot keeps unfolding like an unstoppable and overpowering stream even where you just want it to stop to have a second to process what just happened, and it's devastating, and it's beautiful, and it's so narratively brilliant. The audience really becomes Atsushi the moment both of them are denied their right to grieve.

[feelingtheaster99]

GOSH THE PERCABETH HURT/COMFORT

[lolacouldnotcareless]

tag game: what toast are you? 🍞

@hyperbolicgrinch & @tootiredtoosadtooangry tagged me to do this toast quiz and here we are :3

tagging @myriad-of-colors, @zeesqueere, @reallyinkyhands, @ephemeralsolitude and whoever wants to :3

[firebirdsdaughter]

Something that occurred to me this time…

… Is that Eliot deliberately brings Hardison w/ him to confront Moreau the first time. He tells Nate that he and Hardison will do it (don't worry, I also Love Hardison taking the moment to be like 'hey, are you okay?' bc those two usually express themselves through bickering so much that it clearly telegraphs just how off Eliot is being that Hardison is dropping the usual banter to be serious).

Which for one thing, says something about Eliot's confidence in Hardison in general, but also, like… Yes, Parker's probably not the choice for that introduction, it's not her style, but Nate or Sophie could also have played the part. He could have tried to go alone. But he pulls Hardison.

Obviously he's not trying to put Hardison in danger, he makes it quite clear in all other scenarios that he does not tolerate Hardison in danger (visual cues in The Gone Fishin' Job my beloveds), the others are well aware of the fact that he's Done Some Shit and are equally unaware of his connection to Moreau. And to be honest, I can't pinpoint an exact reason why I think he might have done it, chosen Hardison to be the one who finds out first. Maybe he suspected Moreau would underestimate Hardison, making him safer (relatively, if course), then someone like Nate or Sophie. Maybe he thought it would be best to have Hardison's tech skills as back up. Maybe he thought Hardison would roll w/ the punches the best. Maybe he just wanted Hardison there for morale.

I don't know, but it's a moment that didn't really occur to me the first time, but I think is actually quite meaningful in a more emotional way.

[instinctsxbad]

*scratching at the walls thinking about how no one has adapted Peter’s college arcs in a consistent and satisfying way.*

[lollytea]

How do I say, without coming across as a jaded miserable little bitch who likes raining on everybody's parade, that the PJO Disney plus adaption is nostalgia bait, in the same way that their live action remakes are

[that-one-cat-meow]

Made the whole list(s) of what I need for my betta fish

They will survive the longest, I PROMISE YOU THAT

And Yes, I did write all those things in tags, why do you ask? (I spend damn 20 minutes watching one video about it)

[ssruis]

Going through a straight up comical amount of irritating situations to get the stupid 4* guaranteed ticket from the welcome to sekai campaign. It Will Be Mine.

[chapinii]

thinking about q!tazercraft makes me ill actually

[ishikawayukis]

i do find it hilarious when whoever is adapting a thing says that they're not gonna do it play by play but rather a reinterpretation of the story in a way, and then people get mad because it's not a play by play but a reintepretation of the story