#I just wanted a more faithful and accurate adaptation that's all

[shinidamachu]

I also noticed in my reread of the manga that the anime made Kikyo seem more powerful. In the manga Inuyasha easily parried Kikyo’s attack when she was first resurrected and chose to throw aside the sword to reason with her, and even got ready to strike her down and cracked his knuckles in order to bring Kagome back. In the anime he was easily overwhelmed by Kikyo and was only saved by Kagome waking up. I’m seeing Sunrise’s bias 🙄

And there's nothing wrong with making Kikyo seem more powerful. Inuyasha was constantly getting upgrades for Tessaiga without us as much as batting an eye over it.

The difference is that we were there when he found and got Tessaiga. We were there to see him struggle to master it. We were there for each and every single breakthrough. We know the how and we know the why.

Kikyo's power-ups, on the other hand, seem to come out of thin air most of the time. I'm sure she must have worked for it, but it wasn't shown, so there's a bit of a disconect between her journey getting there and the audience, which makes her achievements turn out to be not as satisfying as they could have been.

It's like, we know what the stabilished powers of a pristess are and so we think we know what Kikyo's powers are limited to, but then she does something new that doesn't fit that criteria and our only explanation is that she was the most powerful priestess of her time. Which makes sense, but also tells us that it's not important how she came to be so powerful, only that she is.

So why should we care when she uses a new trick? It's probably something she has known how to do for a while, anyway. We weren't rooting for her to get it right. We weren't anticipating it. We just roll with it.

The problem is that, in order to make Kikyo seem more powerful, Sunrise often gave her scenes where Kagome was originally the one kicking ass and taking names. And that's what I have issues with. Take this scene for instance:

Kikyo is the kind of character who doesn't do anything without a reason, so why would she interfere? She doesn't really knows Koga. She has probably no idea of his connection to Inuyasha — and even if she had, I don't peg her for comeone who'd care, considering how she treated Kagome most of the time. Koga is a demon with two jewel shards. Why help him out instead of taking them from him herself or waiting Naraku's incarnation finish the job to sweep in and do it? Because in the manga, Kagome is the one who saves Koga:

Which makes infinitely more sense and proves that there was no actual reason behind this "creative" change other than making Kikyo look cooler. The entirety of Sunrise's adaptation is full of these little shenanigans. Do you want to see a practical example of how this affects the general perception of the audience regarding the characters?

Here's Kagome diligently destroying a Naraku puppet to save an unconscious Kikyo. She actively uses the bow and arrow she didn't know how to shoot in the beginning of her journey to save someone she judges to be her love rival. And she suceeds without overthinking it or breaking a sweat.

But Sunrise thought it would be better to just do this instead:

The result? People naturally praise Kikyo for being the biggest girl boss in Inuyasha for stuff that was originally done by Kagome:

Don't get me wrong, it's great that people will appreciate Kikyo — this was exactly what Sunrise was going for, anyway — but it rubs me the wrong way that it came with the price of Kagome getting constantly criticized for being a "damsel in distress" who never does anything.

When your adaptation changes the story so much that people wrongfully perceives your female lead as useless despite the many, many scenes you still animated of her saving the day — and specifically saving the life of her supposed rival, who they judge to be much stronger and independent than her — that's when you know you fucked up.

And the worst part is that people are either blissfully unaware of this irony — because they haven't read the manga — or straight up dishonest about it.

The funny thing is: Kikyo didn't need any of that. What Sunrise did was the equivalent of taking original scenes of her being kind or compassionate and giving it to Kagome instead. It wasn't necessary. Kikyo was stabilished as a powerful woman from her very first appearance:

Kagome was the one who needed to prove herself in battle because she was the 15 year modern girl who was tossed untrained in the middle of a feudal era "life or death" situation. She was the one I wanted to see exploring and using her spiritual powers, because that's what her character needed to grow.

What Kikyo needed was humanization, glimpses of the ordinary woman she has always wanted to be. Empowerment is important, but it's also multifaceted and it falls flat when it focuses on power for the sake of power.

I'd gladly exchange any of those changes for scenes of Kikyo coping with taking a human life or using women's souls to stay on the world of the living. Scenes of Kikyo realizing she has become the very thing she used to fight against and how seeking for revenge affected the people she loves.

Scenes of Kikyo regretting decisions she can't take back, scenes of Kikyo bonding with Kaede both before and after her death, scenes of Kikyo acknowledging the part she played on the way her relationship with Inuyasha ended and apologizing for the hell she put him through over it.

That's how you make her character relatable and empathetic. That's how you highlight her complexities and makes her interesting. Kikyo being pretty while shooting arrows is absolutely stunning on screen, but it does little to create a truly emotional attachment to her character, at least for me.

As for the particular scene you brought up, Inuyasha was, in fact, easily overwhelmed by Kikyo in the anime. When she first attacks him, he just... lets her.

While in the manga, Inuyasha is quick to dodge it.

He does try to defend himself in the anime. However, Kikyo's arrow manages to stop Tessaiga's transormation and almost hits his heart.

None of which happens in the anime, where Inuyasha not only defends himself but also actively pushes back.

Sure, Kikyo still succeeds in zapping the hell out of him, but only because Inuyasha threw Tessaiga aside to reason with her, like you pointed out. When that didn't work, he cracked his knuckles in order to strike her down, before realizing he couldn't do it and then Kagome comes in with the save. In the anime, he didn't even try.

And the hug I mentioned, when he's attempting to appease Kikyo and she cries on his arms for a moment? Completely erased in favor of making her push her elderly sister aside twice and hurting Inuyasha more than originally intended while also referring to him as "beast", "monster" and "half breed."

I understand why Sunrise wanted to give Kikyo more screen time – she's a key character and people seem to have a good time drawing and animating her – but they focused mostly on making her look "cool" by kicking up a notch on the whole "vengeful spirit" thing and ended up shooting themselves on the foot by going too far.

They really thought the nonsense added scenes, like Inuyasha watching her bath or telling the audience they were always by each other's side – while actually showing them sitting far apart, Inuyasha being left to chase after the carriage she was in instead of being there with her, etc – would make up for the hug they cut out in order to give Kikyo more "badass" moments.

That's because they realized the couple had no substancy whatsoever and to remedy that, prioritized telling us that they were together for at least a couple of seasons instead of making the effort to show us this so called deep love. The hug was meaningful and made sense. Inuyasha dramatically laying on the ground while mentally screaming her name after telling her she needed to return the last piece of Kagome's soul – which is how Sunrise decided to end the episode – did not.

Especially because in the manga, he checked on Kagome before...

And after he left to try and get the remaining piece of her soul back – knowing what it would mean to Kikyo.

Plus, while obviously sad about Kikyo's "death", he also seems to accept this was for the best and acts like he is pretty much ready to move on.

Not to mention how he panicked when Shippo brought up the possibility of Kagome not being Kagome anymore and how absolutely relieved he was when he realized it wasn't the case.

And if this wasn't enough, he spent a good three panels blushing over Kagome right after the whole ordeal.

Those scenes had two purposes. One was to solidify, once more, Kagome as her own person to the audience and to Inuyasha, as well as a love interest. He had the opportunity to get Kikyo back and still wanted her to return the soul – even if it meant Kikyo would cease to exist – because he didn't want to risk Kagome not waking up or not being herself anymore, since he was already falling in love with her. Kikyo herself guilt trips him about it when he tries to convince her.

The other was to contrast Inuyasha's first reaction to Kikyo's ressurection and the information that they were both set up with his reaction after he was told that Kikyo died for him and therefore he owes her his life. The former consists on him standing up for himself and rightfully seeing himself as a victim, the latter consists on him blaming himself out of proportion based on a blalant lie. That's why in the manga he takes her "second" death so well, while the others really take a toll on him. In the anime, however, it's like he is already blaming himself when she falls off that cliff.

I attribute this change of attitude to another scene Sunrise thought fit to delete:

Of course the anime also has Inuyasha denying Kikyo's accusations, but he is way less effusive about it in there. Originally, when he realizes they were fooled into thinking they betrayed each other, he acts like they were both at fault for distrusting each other and are, therefore, even. So when she "dies" there's nothing he can do but wish for her to rest in peace and move on despite how sad it makes him.

All of this really sucks, because as you can see, the changes they did in favor of Kikyo either didn't work on her favor at all or heavily impacted the characterization of others – Inuyasha and Kagome especially – in a negative way, in addition to creating huge inconsistencies plot and narrative wise.

TLDR: yes, Sunrise's bias is obvious. And ironically, I think if they had liked Kikyo less, she would have been a much better written character because they wouldn't be afraid to give her the development she needed.

[professorhayforbreath]

my blog probably gives the impression that i think the show is bad as a whole, but the reason this show frustrates me so much is because it's definitely NOT 100% bad

like... the movies are bad adaptations. everyone knows it. they have some great moments (an embarrassing amount of which are better than the show lol) but overall they are widely considered blatantly bad adaptations. it's easier to make peace with that

the show, however, is far less consistent and i find it much more difficult to wrap my head around. there are parts that are bad and i'm happy to say that with my chest, but underneath numerous questionable-at-best writing choices, there are glimpses of really, really good stuff. the first few episodes had so much promise—percy burning blue jellybeans and praying to sally, the consensus song. these are brand new additions but they're good, they capture the spirit of the story and characters successfully

and sprinkled throughout the rest of the show are other strong choices! for example in the last episode i really liked that they set the betrayal scene during the fireworks, it created a fantastic ambience. i liked that grover left camp at the same time as percy and annabeth so the three of them got to part ways as a trio on half-blood hill

there are good changes being made, but they're almost all small in the grand scheme of things. in my opinion, the bigger, more consequential things are where they missed the most marks, and that prevented me from fully enjoying the show as a long time book fan

when it comes to writing nothing frustrates me more than wasted potential. mediocre writing is one thing, but mediocre writing that could have clearly been so much better is INFURIATING. i don't dislike the show because i wanted it to be a 1:1 recreation of the book, i dislike it because it's just okay when it could have been great. it so EASILY could have been great and i don't get why it's not. a lot of the writing choices are just baffling in their mediocrity, and sometimes technical weakness, when compared to the well written and effective source material. i wish i could have been a fly on the wall in that writers room when they were making some of these decisions, seriously

the cast is phenomenal. their budget is more than sufficient. they marketed it as a "redemption from the movies", as the adaptation that would finally give fans book accuracy. and the show we got is... fine. it's all right. it's not all that book accurate even though it was advertised as such. there's plenty to like but it comes hand in hand with plenty to dislike. it's only natural for people to be disappointed

i know my critiques can come off as venomous but please never mistake my harshness as hating for the sake of it. i adore the original pjo books so i really wanted to adore the show as well, but unfortunately i can't get there yet. "yet" being the key word because there's still plenty of time for this show to pick up the slack, and for that reason i'm glad it got renewed. i don't have the most faith the writers will listen to the feedback but i'm rooting for them to prove me wrong

[aphroditelovesu]

Yan!Alexander the Great Random Headcanons

❝ 📜— lady l: i managed to convince my sister to let me use the computer just to post this and later I post the sneak peek of The Lost Queen. These hcs are just for fun and contain some facts about Alexander and others are headcanons that I made up, but it doesn't come out of his personality that I wrote in his general hcs, you can read it by clicking here. Good reading and forgive me for any mistakes! ❤️❤️

❝tw: not entirely historically accurate, mention of tantrums and heavy drinking and perhaps implied murder (?).

Alexander has a very high tolerance for alcoholic beverages, particularly wine. However, the wine he is used to is the ancient one and not the ones we know, but he would definitely make a point of trying the current drinks just because he likes to get drunk. and he is a violent one

He's a very curious man and that curiosity he has has gotten him into a lot of trouble, more than he's willing to admit. Part of his fascination with you comes from his curiosity.

Rumor has it he had a fear of cats, apparently ailurophobia and will definitely have issues with his darling if they are a cat lover. Basically acting all "the cat or me".

He is short-tempered and acts irrationally and impulsively when he is angry, and even though he regrets his later actions, he is unlikely to apologize. Besides being a greedy and ambitious megalomaniac.

Alexander tends to be very hard on his punishments and they are all in military ways like whipping. He will punish anyone who crosses him, who crosses you, and he will show no mercy. Not even his darling is safe from the King's angry excesses.

He has a low intolerance for spicy foods and you can be sure that when he puts something with too much pepper he won't do well. There was one time you almost swore you saw fire coming out of his mouth 'cause it was so spicy.

If Alexander watched a movie about him, you can be sure he won't like it, especially if it's an adaptation and not faithful to reality. He might want to hunt down whoever portrayed him in such a way and make them understand that the Great King is not to be mocked.

I believe he would be a good father in the "good" sense, better than his father ever was and to me he has a lot of a girl dad vibes, although obviously he would like to have a son, I still imagine he would be a good father to a daughter.

Alexander can have serious tantrums and almost no one may be able to calm him down but you. Usually a few kisses and a soft tone of voice does the trick in trying to keep control over this man. And he gets jealous easily and often of material things or other people's achievements.

It is a fact that he is ruled by you and he wants to satisfy you and conquer all your desires and whims. Do you want a jewelry? Ask him. Do you want an Empire for yourself? It's yours. He's a little bitch for his darling and all he wants, what he'll demand in return, is that you be wholly his and his alone. He has his qualities but he also has his flaws that are difficult to deal with. Do you think you can handle him?

[always-a-king-or-queen]

there are literally so many reasons why we don't need a third Narnia adaptation

first of all, while they might not be the most accurate, the Disney movies are actually so good and, in my opinion, still manage to capture the heart and soul of the series and what it's truly about. The characters are each perfectly portrayed; the Pevensies act like actual siblings and yet love each other dearly and would die for each other even through all the petty arguments; the music creates perfect atmosphere and emotion and never fails to make me tear up or get shivers down my spine; and the CGI is honestly just absolutely stunning.

I really do not feel like we need another adaptation by Netflix.

Especially not through Netflix.

Netflix has already been known to mess up so many shows and movies by completely changing the source material or adding in unnecessary things that completely take away from the purpose of the story. I can already see them warping Narnia into something that barely even resembles the books, that strips it of its purpose and simply makes it about a fantasy world, nothing more. I've already seen posts saying that the new movies just can't end the way the books end, that heaven must be explained away, that Susan never forgets and falls down a dark path, that the faith aspect must be taken out so as not to offend new viewers.

Here's the thing.

If you take faith out of Narnia, you remove the very heart of the series. you remove the entire purpose. Because Narnia is entirely about faith, and trust, and Someone greater than yourself who sacrifices everything to save your own traitorous soul. the Disney movies did not shy away from portraying this faith as openly as possible. if anyone was offended, I've never seen proof. I have seen many nonbelievers talk about how much they were affected by Aslan's death, which goes to show that you simply don't have to be Christian to understand what Narnia is about, and to love and enjoy it.

So if these new remakes remove the faith aspect, then what is the point? four siblings go to a magical land and save it from a witch and befriend a talking lion with nothing special about him and live there as kings and queens and return home and live happily ever after? there is no sacrifice, there is no "he's not tame, but he is good," there is no creation, there is no redemption, there is no last battle, there is no "in your world, I have another name", there is no sister straying down a dark path because she has forgotten how to hope, and then returning because her story is unfinished and the road to heaven is paved with flowers that symbolize her name.

so then, what are you left with? Aslan is just a talking lion, nothing more. the stone table never cracks, the sun never rises. "That by knowing me here for a little, you may know me better there" is forgotten entirely, because why would Aslan exist in our world if he is merely a talking lion in Narnia? Aslan's country is changed to be something else, and there is nothing about how Aslan suddenly no longer looks like a lion, and how the things that happened after are more great and beautiful than can be described. Edmund's life is never threatened because of his traitorous deeds; Aslan never offers his own life in place of a guilty boy, is never killed, is never resurrected.

the very core of Narnia is removed, and what you are left with is emptiness.

sure, it might make for a good fantasy story nonetheless. you might still have sweeping views and epic music and an intriguing plotline, but something will always feel like it is missing. like there is an empty hole, desperately needing to be filled.

of course, I don't know that all of that will happen; it's just speculation at this point. But I am fairly sure that it is safe to predict these upcoming movies as such. I highly doubt the producers will want to include the faith that shapes Narnia, because according to them, having a faith aspect means less viewers since too many people would be offended.

but if only they would look at the already wonderful existing adaptations, they would know that is simply not the case.

[notseaweedbrain]

OK so I know that I’ve shit on both adaptations of the PJO books (cry about it) but I will tell you this… I do it out of love for the series!

This book series literally saved my life. I’m not joking at all. (TW: self-harm mentioned) I promised my therapist that instead of ending my life early… I would read just one more chapter of Percy Jackson. No joke. I still do it to this day.

Excuse me for being extremely passionate about this series so much that I can take the “Rick Riordan hype-train”™️ blinders off and ultimately critique it.

I saw that the show was renewed for a second season. I won’t be watching it. Riordan promised a book accurate adaptation of the series and he ultimately lied to the fanbase. The man was so adamant about it being different from the movies that he forgot what was actually supposed to go on screen.

Every time I think of those books, I think of my happy place, my home.

I tuned into the first episode in a bright orange camp half blood shirt, blue cookies and pizza, (as Percy would) and my room completely decked out in blue lights. I felt safe. I felt like I was going to the one place I felt understood. I had hope for it let me make that clear. I didn’t want to hate it.

I walked away from the first episode, fairly excited about what was to come. I was happy. I re-watched it multiple times. It felt really faithful. I found myself every week after that feeling like I was being killed inside.

I will forever love the books. Every time I travel I bring at least one of the original five with me everywhere I go. I am a passionate fan. I have a Greek mythology tattoo sleeve and Riptide resides all the way down my arm.

Once again, I reiterate, that the Percy Jackson books saved my life and continue to do so. I will always thank Riordan for writing the originals.

There’s my story and my one original post a month

🫶🔱🌊

[pendragonsclotpole]

i’ve been keeping up with dominic noble’s lost in adaptation series for pjo, and i just finished watching his review of episode 8. he made a point of saying that he didn’t consider the tv series an offense to the book, and i’m glad he did because i think a lot of show fans hear the criticism that some books fans have of the show and misunderstand why we’re so upset.

i think the tv series is a good, decent adaptation that attempts to appeal to a younger audience/an audience as young as the book series first readers when it was published. it modernizes a few things (shoutout to that completely unnecessary scene of sally listening to olivia rodrigo), expands on a bit of the central characters, updates the relationships the gods have with their children, and keeps the spirit of the original series, if not always the execution.

i think if the tv show had come out in 50+ years, long after a book accurate and beloved adaptation had come out, the show would be a fresh take on a classic children’s story a la lotr. but the issue is that the last adaptation came out close to 15 years ago and while it was good and entertaining for a blockbuster movie, it wasn’t percy jackson.

it wasn’t the story we got to see and get to know: a complex tale of parental neglect, greek gods and mythology, and most importantly—a young, misunderstood boy trying to navigate the complexities that arose from the circumstances and consequences of multiple sets of beings, far more powerful and older than him, trying to control him and take away his agency, all because of the circumstances of his birth, which were not his fault and which he didn’t ask for. sure there was magic, sure there a suspension of disbelief, but at the heart of the story there was enough darkness and realness for the story of the book to mean something.

we spent years listening to rick riordan promise us that he would find a place to create a faithful adaptation of the book. but he didn’t. and that’s okay, because at the heart of it all, he wrote pjo to appeal to a set of kids younger than i am now and closer to the age i was when i first met percy jackson. i understand the dozens of fans that love the show, even the book fans that enjoy it as an adaptation, but to me, the girl who admired the brutality of sally jackson turning the man who abused her to stone, who loved the emotional complexity of a dad who could never quite say the right thing to his own child and always left them feeling so disappointed and like a mistake and alone, who never quite fit in with the other kids and felt unwanted, who wished she had some sort of powers and the capacity to rebel against the forces older and more powerful that controlled her, i just can’t love the show as much as i love the books.

i know what i just wrote sounds weird. no, i don’t want to essentially kill and turn any men that may harm or abuse me to stone (tho people if you get the chance, godspeed). but i do love the idea that sally when given the choice, had the power to petrify a man who likely petrified her. she made her choice to get rid of him. she made a choice many women or victims of abuse in general don’t often get a chance to make, and it was presented in such an unrealistic way, in the guise of a medusa’s head, that it felt even more real. i love that a man that is meant to be from an idolized and integral part of your mother’s past, who in many ways is a god, can be a horrible father and partner, and say the wrong things and never be enough. i love the idea that we can all be tempted by the wrong things but eventually make the right choice and be the hero we needed all along.

i think i’ve rambled long enough, and i hope you all can understand what i mean. obviously some of the points i mentioned have yet to be adapted. i hope the show gets to bring to life all 5 books and potentially even beyond. i think the tv show is good, funny, entertaining, a little slow at times, and not enough action or tension. i love leah, walker, and aryan as annabeth, percy, and grover. i think the designs are beautiful. i think it is a good adaptation and i think with a rewatch it’ll grow on me, but it just isn’t the percy jackson i grew up with. maybe that’s on me. maybe i’ve grown up idolizing a book series and appreciating what it meant to me, instead of reading it and appreciating it for what it is: a children’s series. maybe the tv show and book series are mediums meant for other kids and new audiences to enjoy. in which case, enjoy them. i’ll still watch along to see some iteration of the books i love be brought to life, and to appreciate a good show but a part of my heart will always yearn for a faithful book adaptation.

[sunchaserwings]

Incoming rant about The Adventures of Sherlock Holmes, Herlock Sholmes from The Great Ace Attorney, and the BBC Sherlock (no major spoilers ahead I promise).

A preface before I begin; I was never a big fan of Sherlock Holmes or any adaptation of the stories. I've seen Elementary although I was very young so I only have the vaguest of memories of enjoying it, and my roommate had me watch a couple BBC Sherlock episodes when I was a tween/young teen. My mother claims she tried to get me into Sherlock Holmes but I'm rather skeptical. Anyhow, onto the story.

Back in March my boyfriend bought me the Ace Attorney games for my birthday which included the Great Ace Attorney Chronicles (or Dai Gyakuten Saiban for those who are still stuck on the pre-localization names ;p). I was on my flight home from my birthday trip after I got the news my manager fired my brother while I was out of the state and figured why not, I'd start playing the first TGAA game on the flight. I'd probably enjoy myself and I couldn't sleep.

Second biggest mistake of the year (first biggest was trusting Les Schwab to do my brake job). I. Was. Hooked. I played the first case and fell in love with Kazuma instantly (he's so Zero shaped!). I played the second case and realized that calling him Zero shaped was way too accurate. We all know what happened there. Most important to this rant, I met Herlock Sholmes (more on my opinions on him later). I could barely put the game down but I had to take a break due to finding a new job and getting adjusted. I ended up finishing the game in June or July, one of the two. I finished the final case of the first game in one long 12 hour gaming session it was that good (my back didn't thank me though).

Now, the man of the hour: Herlock Sholmes. I didn't think much of him initially. He was simultaneously charming and annoying in the second case but as I played more he grew on me. I cried when the start of 1-5 happened. He clawed his way up into like the top 7 favorite characters at the time. The ending of the game with him playing his violin made me bawl my eyes out. I. Loved. This. Game.

It took a few more months to start and finish the second game. In between Adventures and Resolve I played Skyward Sword, Minish Cap, and some others so I had a healthy break. I came back to play Resolve and finished it like two months ago. It hit me in the gut just as hard as the first game did although there are a great many things I'd tweak and do differently. But Herlock Sholmes... man, he's not my favorite but he's up there underneath Kazuma and Van Zieks.

Anyhow, I finished the game but the hyperfixation had started and would not let me go. I've never been one to go out and seek fanfiction due to... personal stuff but I had a feeling I didn't want to go probe the depths of AO3 yet for fear of crying. I started a graveyard shift at my job which severely limited my ability to talk with people about stuff and also there's so many major spoilers but very few people I knew had played the game. A thought occurred to me, however. What about Sherlock Holmes audiobooks? I have an auditory processing issue which has made listening to audiobooks hard but I decided to give it a go. Perhaps it would satiate the TGAA hyperfixation hunger.

I found the ones produced by Magpie Audio, expertly narrated by Greg Wagland. Go check him out, he has over 77 videos of Sherlock Holmes audiobook recordings and all of them are a minimum of 40 minutes, often times far more. I went through over 30 hours of audiobook in a few weeks listening to these. Sherlock Holmes is such a good character and I can understand how and why he took late Victorian England by storm. And you know what the best part is?

Herlock Sholmes is the most faithful adaptation I have personally seen as a character of the original Sherlock Holmes.

They got so many of Sherlock's little idiosyncrasies right and you can tell the entire team were genuine fans of the books. I listened to Mr. Wagland's narration *and I saw 221B Baker of the games*. Especially the jack knife impaling the communications to the mantle being referenced in the game? The sheer mess of the flat? It's so good!

My roommate (whom is also a Sherlock Holmes fan) noticed my newest hyper fixation that spawned off of TGAA and that reignited his Sherlock Holmes obsession. He was a fan of the BBC Sherlock and now recognizes it was not a very great show but it's a comfort media for him nonetheless. He just dragged me into rewatching it and... okay, it's playing into a lot of inaccurate Sherlock tropes I don't like but goddamn Martin Freeman carries the whole show. I love his John Watson because it feels like a reasonable version of a modern, younger Watson. He feels real in a way. I do like the fact that even in the first episode, it's established that John and Sherlock can make each other laugh and smile just like in the books. I don't forgive them calling Sherlock a sociopath, however (speaking as someone with a brother that has been diagnosed with being a high-fuctioning sociopath). He's AuDHD to the max and deserves recognition in that department.

All of this to say, I can trace my current Sherlock hyperfixation back to Mega Man. Finding Mega Man in 4th grade led to watching the Ace Attorney anime in late 2021 which led to playing The Great Ace Attorney and that led to listening to Sherlock Holmes. I don't know why I decided to make this post but maybe I might start live blogging this shit? All in all, this is going to be a wild ride.

[niqosblog]

Why Do People Distrust Reboots of Cartoons?

An Analysis

Root of The Trust Issues

I feel like ever since Teen Titans Go, people have lost faith in reboots of classic shows. Especially since their only basis is "this is a show for little kids", and they expect it to be immature and plotless.

You can't just announce that you're making a TV show reboot of a classic with a more simplistic art style without expecting backlash.

Just saying "I like the [insert media] reboot!" Everyone is gonna be on your back and say that it's a bad lifeless reboot. But I believe that some are actually good. They have kept up similar themes and still progress with the modern world.

The Exception

If we're really getting into this topic, may I say that Voltron: Legendary Defender is a reboot that people loved to pieces. Even with its awful ending, people still loved it. Yet no one asked for it.

No one looked at the old Voltron and said "I wish there was a reboot".

Was the show good? YES!

It performed amazing during its run. It had a strong fan following to it as well.

Was it bar for bar, character for character accurate? NO!

Keith was supposed to end up with Allura, going so far as to marry her. Pidge was actually a clumsy dwarf boy that had a crush on Allura. Hunk was some buff white guy rather than a chubby Samoan dude.

Yet, did people complain? ALSO NO. And the only reason why, was the art style.

Simplistic Art Style

Then we get to things like the My Little Pony and Strawberry Shortcake Reboot. These are objectively good reboots as a stand alone, without a nostalgia bias.

They have representation, life lessons, friendship themes, basically everything that the original was. But the fact it's a 'reboot' is what throws people into hysteria.

Strawberry Shortcake was always a spunky girl who would always problem solve in a kind and caring way. Always true to her friends, loved making friends.

She is such a stereotypical good girl that the show even pokes fun at it. Making jokes that she's too trustworthy and friendly. And they keep this trend in the reboot. Yet people didn't watch it.

And you want to know why?

"it looks lifeless" "it lost its spark" "the designs are ugly"

Why This Argument Sucks

This isn't a real argument. Exhibit A would be Teenage Mutant Ninja Turtles (TMNT).

We can agree that TMNT has kept a consistent art style. Mostly consisting of the big eyes, similar body shapes, wide mouths... The only two thing differentiating them being the eye covers and weapons.

Now in the reboot, there are several differences.

Raphael - Stocky, beefy, wider, taller, snaggle tooth

Leonardo - skinner waist, broad shoulders, long head, slightly muscular arms, eye markings

Donatello - basically the same as Leo but he has skinner arms, and goggles

Michaelangelo - rounder, shorter, bigger eyes, more colors

Unlike the other adaptations, where they look like the same copy and paste character with a slight hue shift, they actually look different. But before it came out, there was a lot of backlash of the characters looking ugly.

That soon changed when clips started circling around that people gave it a shot. And guess what. They liked it! They called the characters charming and unique, and even got a huge fandom from shares on Tiktok and advertisements from the program airing the show.

Sure, people did complain about the simplicity. But they eventually came to enjoy it. So why can't people keep the same energy for other reboots?

Nostalgia

The biggest factor of all is nostalgia. I loved Strawberry Shortcake: Berry Bitty Adventures. And I dabbled in watching the 2003 version because I loved it when I was a kid. Yet, I still love the reboot.

Berry in the Big City isn't a bad reboot, people just don't want to give it a chance because of the nostalgia factor. They grew up with the 2003-2009 version and expect no changes, and when things did change they threw a fit.

I don't know how to tell you this, but this show was made for KIDS. Not teenagers looking for a fun watch, not adults looking for a taste of classic TV, but children.

Sure, there are some teens and adults who love this show because they might be a babysitter or an older sibling. Or maybe just someone who heard it was good and wanted to give it a watch.

But if your only reason for disliking a show is that "it's not my [insert character]" is showing that you're just scared of change. If I'm really being honest, BITBC shows more personality in their characters.

Back in Berry Bitty Adventures, they all felt like the same girl just with a different goal. Here, Strawberry is more hyperactive and passionate, Blueberry is going with the flow and airhead-ish, Orange is a competitive athlete, Lemon is an emotionally closed off inventor, Lime is a nerdy fashionista.

And they all look different.

I have confused Raspberry Torte and Strawberry in 2009 more times than I can count. Even characters like Cherry Jam and Blueberry who have a different color scheme, look similar when desaturated.

And if you feel hurt by the fact that I'm saying cons about a series you loved as a kid, then you're part of the problem.

I don't expect you to say that "oh, yeah, I can see that." but instead, admit that not everything you grew up with was perfect.

And if Strawberry Shortcake isn't enough proof that people glorify the original too much, may I remind you people continuously hate the Monster High reboot.

The original had racial stereotypes, outdated jokes, sexist characters, toxic relationships (that for some reason stayed together), misrepresentation of disorders, and way more.

The reboot actually tries to be sensitive to who might be watching their show. They made Asian coded characters not yellow, they properly represent disabilities, they don't make Abbey's foreign accent a joke, they have body diversity. And g1 is apparently still superior.

Another reminder is that when g1 tried to make progress with their first gay character, they back tracked it and made it subtext. There will always be a problem with g1 Monster High, the only people who ignore it are people who are scared of change.

Conclusion

Are you supposed to watch all reboots from now and forever into eternity. No. This is just a thing I noticed when goons glaze on a cartoon that they (probably) didn't even watch getting a reboot.

There are bad reboots out there, (I'm looking at you Velma..), but I feel like if you just watched a couple episodes you'd find them more enjoyable. The original doesn't disappear when you watch a reboot. In fact, most of the examples I've mentioned are free on YouTube.

[inbarfink]

Current Status: thinking on these two High School Productions of ‘Dr. Horrible’s Sing-Along Blog’ I found on YouTube 

Where Penny’s death is kind of a Heroic Sacrifice.

Like, when Captain Hammer tries to shoot Dr. Horrible with his own death, Penny tries to rush in to stop him (shouting "Please, don't-!" in the Norwood High version, and "Captain Hammer-!" in the LIVE version) and that’s what gets her caught in the blast. 

I mean, first of all, I do find it kinda amusing to think that there were two totally separate groups of teenagers in 2012-2013 who looked at Penny getting Fridged and were like “Actually, that kinda sucks??? Can we do something to give her a little more agency?”

And second of all, like, there’s a lot of Discourse about how to fix the way the narrative treats Penny. There’s talks about Superhero Penny or Resurrected Sequel Penny or adding elements from the comics or adding in popular headcanons… 

But if you’re just looking for the quickest of quick fixes, like, you’re not aspiring to make a total rewrite of the musical, you’re not that confident in your ability to write new scenes in the voice of the script, you really wanna preserve ‘Everything You Ever’ as accurately as possible cause that’s the emotional climax of the story, you really want like - minimal change but maximum impact - that really does kinda work?

Like, it’s not a perfect patch-job. It doesn’t fully address every problem with the narrative treatment of Penny. And... well...With the Norwood version, it’s not like it makes Penny’s last words still being “Captain Hammer will save us” TOTALLY not make any sense - but it is incompatible with some of the common interpretations of it. So if every single possible interpretation of this line is super-important to you, you’re probably not gonna like this change.

(But it still works with MY interpretation so I'm 100% cool with it hahaha!)

But this does give Penny some level of agency in her death. Connects it to her primary characterization of being good and kind and the only real hero in this world - she died because she still held on to some faith that Captain Hammer genuinely cares enough about her to listen to her, or maybe because she still believed that Billy was someone worth saving. Trying to Be a Hero in Her Own Way, only for all of her faith in humanity to backfire on her horribly. It also makes Captain Hammer a little more detestable by ignoring Penny, if not actively putting her in harm’s way. 

And it makes sense why Dr. Horrible would be so emotionally devastated and probably blame himself for what happened. And, she tried to do something kind and good for him which did nothing (he was too low to the ground to get hit by the explosion anyways) but get her killed; there’s a throughline from here to why that action will inspire Dr. Horrible to abandon kindness and goodness completely himself, that’s not just treating Penny as a representation of Dr. Horrible’s goodness.

You can even argue that this is kinda already happened in the original DHSAB. Cause the reason why Penny was hit by that explosion seems to be because she was the only one who didn’t duck from the debris. 

And we do see her standing up, when she sees Dr. Horrible, or rather her buddy Billy, hesitates shooting Captain Hammer in the face. 

So one could argue that the intention is that she was still standing, considering whether or not she should or could intervene when Captain Hammer pulled that trigger. But the way it works in this High School Production Version is a lot more explicit.

This is probably far from my favorite way to try and fix the Problem with Penny, but in terms of how well you can incorporate it into an otherwise faithful adaptation… I think it’s pretty amazing how just giving Penny two extra words to shout can change so much. Really, one of the main things I like about live theater as a medium is how it puts focus on the little differences. 

How little details changing between different productions of the same script - and even different performances of the same productions - can really change how one looks at the characters or even the whole story. Especially in such a dialogue-heavy story like DHSAB, even when delivering the exact same lines, actors putting different emphasis on different words can really change the meaning of what they’re saying.... I dunno, I just think it's Neat.

[panda-puma]

I'm a little baffled by your post about the one piece anime, because while I would also recommend people read the manga instead, it still is a vastly more accurate adaption than the opla? like, opla is lovely for what it is, but oda being involved in it doesn't change the fact that they took huuuge liberties that the anime just... doesn't? which is perfectly fine for an adaption, I'm just mentioning it because it sounded like you were focused on the character dynamics, which are just... vastly, vastly different in the manga AND anime vs the live action. I'm thinking about Nami and Sanji in particular (and Usopp as well to a degree), who all kind of feel like watered-down versions of their actual selves (Nami isn't greedy enough, Usopp not cowardly enough, Sanji... well, I'm not saying Sanji being different is a bad thing asdf). Again, perfectly fine for an adaption that doesn't mean to adapt its source material beat for beat, but it just leaves me really confused over how the opla is possibly a more faithful/a better adaption than the anime? Which, as far as I can recall, has severe pacing issues, annoying fillers and leaves out things like the cover stories, but still sticks waaaay closer to the actual story and dynamics as they are in the manga.

(First of all: you can like the Anime. As I said before, I've watched the entire Anime 3 times this last year. But you can enjoy something and still know it's flawed. Very flawed, even.)

Uf, I will try to make this as short as possible xD If i sound dry or "angy", sorry, English is not my first language ^^

What baffles me is that most people really think the Anime of One Piece is a faithful 1 to 1 adaptation, or that everything on it is canon (except the fillers), or that Oda approves the changes they make. For context: it was very common in the 90s/2000s to just take a manga that was doing good and make an animation that took the characters and story and did whatever they wanted with it. One Piece is not the only victim of this treatment.

I respect the animators and Seiyuus, they do their jobs good and are what makes the Anime enjoyable. But I really can not understand the Directors and the changes they decided to make to the characters (and this applies to the whole series, not only 20 years ago).

The changes you see in OPLA are necessary to translate a drawing (Manga) to a series acted by real people. Also, condensing 95 chapters of Manga in 8 episodes and trying to bring the essence of the characters to the screen, translating Japanese funny gags to an International Audience and also having the input of 25 years of Oda thinking "huh, maybe this could have been explained better" it's obviously going to make things change.

The Anime has none of those excuses. It's also a drawing so no need to tone down, supposed to have the same Audience (even tho they really tried to make it for little kids and it shows), they clearly don't have an issue with the length of the series and they don't ask Oda for nearly any of the changes they make!

Pretending Oda being involved or not doesn't matter is just so weird to me. You know all One Piece characters are Oda's OCs, right? He is the original creator of the characters. He knows them better than anyone else. He knows where the story is going, what is acceptable, what is on character and what is not. Just because they are very famous characters it doesn't mean they are not someones Original Characters. He loves them and cares for them. Not respecting him as the only one that can say something is canon or not is completely disrespectful and dehumanizing.

About watering down characters in OPLA: again, they are real people acting the characters. In the Manga they are exaggerated to a comical effect that wouldn't translate as comical if it's real people who do it, it'd just be weird. That's because it's different mediums and different audience. But the core of the characters is very present, just less cartoony. On the other hand, the Anime reduces the characters to just this comical effect, taking away nearly everything else of the characters, making them just gags.

Answering to the specific points you make about OPLA:

Nami not being greedy enough: Nami's greed before Arlong Park Arc is just her trying to save enough to free her people. We don't really see her greed until after she is free. We haven't reached this point yet in OPLA, apart of her wanting to dress nice and enjoy a bath.

Usopp not being cowardly enough: they can not spend 5 minutes of an 50 minute episode showing him screaming around or running away. But they did show him running as first reaction in Kaya's Mansion, twice. They showed him wanting to go back home after encountering Garp. He does say cowardly things all the time, like wanting to leave, stay on the Merry, not fight the Fish Men, running away the second Chu payed attention to him… It's just less cartoony. They are also not showing inner dialogue of the characters, it's just shown by their acting.

Sanji not being a pervert: Not only is Sanji's perversion waaaay exaggerated in the Anime, to an unpalatable degree, it's also a very Japanese Funny Gag that wouldn't translate good to an International Audience. Sanji in the Manga has, on top of everything else, a friendly relationship with Nami. He can talk to her like a human being. They are friends that can agree or disagree without drama, that join forces to fix things very often and act very calm around each other unless something "special" happens and Sanji is lovestruck, but even so, he usually comes back to being normal pretty fast. Of course he likes her and he is attracted to her, but he also sees her as a person... unlike the Anime. This translated to into the Live Action to a man that tries to flirt and has no success, but that can take a no as an answer without being offended. Also, Oda probably wanted to show on the Live Action that the real reason Sanji is on the crew is no other than him following Luffy (that is also a thing that the Anime waters down: Sanji's dedication to Luffy)

The main point is: yes, OPLA is an Alternative Universe where things are shown a bit differently, but the core of the characters is the same. You see them and you see real people, just like in the Manga.

And let's see about the faithfulness of the Anime... just because the Arcs are called the same and things kind of happen the same, it doesn't mean it's a faithful adaptation. The most important thing in a story is the characters and how they interact and react to the world. These are just some differences between the Anime and the Manga that I can think of off the top of my head, just from the East Blue Saga. (without any particular order)

-- Zoro's real backstory (Manga) is that he had been in the Shimotsuki Dojo probably since birth, practicing his 2 Sword Style and only starting the 3 Sword Style to carry Kuina's Soul with him. [((spoilers from Wano: now we know Zoro is also a Shimotsuki, so he was training in his family's Dojo. It also explains why Koushirou gave Kuina's sword to Zoro so easily: they are family, and Zoro would carry the Shimotsuki name to the top of Swordmanship))].

Zoro's backstory in the Anime is completely changed to make it look like he is a random funny kid that came out of nowhere and one day appeared in the Dojo. His signature 3 sword style is also made like he just "wanted to use as many swords as possible".

I don't think it's very necessary to explain why this changes are just... terrible for the character and continuity.

[Edit: the following is not correct! Check the reblog for the correction :D] The Anime also makes Zoro's departure from Shimotsuki Village like something he planned to do, saying goodbye to Kuina's Grave and Koushiro… when in the Manga he literally tells Luffy he was kicking pirates out of his village and he got lost and didn't know how to get back. [/end of incorrect part]

Changing Zoro's character at every turn is something they love to do in the Anime.

--

Usopp in the Manga wants Luffy&co. to meet Kaya, because he cares about her well being. He wants her to make new friends, to be able help them and feel useful doing it. Usopp knows what Kaya needs is contact with the world and tries to bring it to her.

Usopp in the Anime is jealous and secretive of her. He doesn't want the others to go meet her, even knowing they are good people. He'd rather have her to himself.

This is a fatal change to the character of Usopp. He is a kind hearted lovely man that wants what's best for his friend... but the Anime just shows a jealous asshole.

--

In the battle against Cabaji, Zoro cuts his own wound, so his opponent can't use it as an advantage anymore.

In the Anime, he lowers his defense on purpose and lets Cabaji cut his wound.

The first one shows how far he can go to prove himself, also shows he is not at all worried because he doesn't consider Cabaji up to his level. I'm not sure what the second one is supposed to show apart from "children can not see self-harm".

--

Also in Orange Town in Manga, Luffy is fighting as much as possible against the cage he is trapped in, biting the bars. And afterwards he is very worried asking Zoro to leave him and not carry him or he will get worse from his wounds. In the Anime he is just surprised that Zoro can carry him like that. He doesn't really fight his predicament.

The Anime usually shows Luffy as an uncaring friend, which is sad when he is a character that cares so much and has so much empathy.

--

In the Manga, Zeff cuts his own leg and eats it to survive after giving all the food they have to Sanji.

In the Anime, Zeff lost his leg because it got caught in the ships broken pieces, and he had to cut it to survive. (i guess he survived 80 days thanks to the Holy Spirit or something) (again with being palatable to children)

--

In the Manga, the first encounter between Tashigi and Zoro is brief, Zoro gives her back the glasses and carries on (even tho tilted by her looking so similar to Kuina).

In the Anime, Zoro breaks Tashigi's glasses with the shock and she proceeds to be the meanest person ever insulting him in many ways (isn't she supposed to be a good person?) and forcing him to work for her to pay her glasses back, even tho she has no need for the money.

The Anime shows Zoro as a pushover, when in reality he is not. He was "pushed over" by Luffy out of the blue because it is Luffy, not because Zoro would let someone random do that to him. This type of "Zoro gets messed up easily by anyone" is very repeated through the Anime, taking away the importance of his relationship with Luffy and the other few he pays really attention to.

--

In the Manga, Sanji wants to be famous and have his face seen in the Newspaper. That's why he gets mad when Usopp is in Luffy's Wanted Poster and he isn't.

In the Anime, he is already a famous cook. We can see it in one of the many filler in Loguetown, where another cook has been wanting to surpass him for a long time.

[((spoiler of Whole Cake Island: This collides directly with how his Wanted Poster makes his bio Family looks for him to use him, after knowing he is still alive.))]

--

Also in Loguetown, in the Manga Luffy goes directly to the place Roger was executed.

In the Anime they make him get lost a hundred times for comical effect. He also meets Smoker, Buggy and others on the way… taking away all the surprise.

--

In the Manga, Zoro and Luffy are pretty confused with Sanji's romantic reaction to Nami. They don't get why she's getting special treatment. Zoro even wonders if she bewitched him somehow.

In the Anime, as soon as Sanji starts flirting with Nami, Zoro gets irritated and Luffy gets uncomfortable.

In the Anime they try hard to make Zoro have a romance with any girl that shows up, adding reactions that are never present in the Manga.

--

And well, a huge one that needs more elaboration, because it is the core of the Manga: Luffy is shown observing and judging situations and people constantly. Every time something is happening that shows the true nature of people, he is specifically shown paying attention.

In the Anime this is translated as him being an empty headed kid that barely thinks or cares about anyone. He is a shell of a man, who only repeats that he wants to be King of the Pirates...

--

This is a very tiny list of examples that explain themselves without going into extensive detail…

I can go on and on about more changes that make no sense or change characters personalities, but if I do, I will dedicate its own blog to it to not clutter this one. I need bigger posts to explain the changes I see in dynamics between the characters xD

And as I said: if all of these changes were approved by Oda, I would be happy to accept them. But sadly they are not.

So to me, the One Piece Anime is just a fan-made adaptation that takes too many liberties. Or, as Animes are really considered in Japan: just advertisement for the Mangas.

On the other hand, OPLA changes were approved after negotiations and struggles and years of back and forth. Oda was very invested in it, trying to really show his vision and his world as good as possible. That's why i consider the Live Action as a faithful adaptation of the story.

Of course you may not consider these things important, but they are for me. In the end, you are free to enjoy One Piece as you wish! ^^

Anyways, thanks for reading so much! xD This ended up not being short at all, but i controlled myself as much as possible, i swear uvuU

[tyrannuspitch]

i know it's probably a lot MORE vexing to be on the other side of this equation [ie: a norse myth enthusiast when the public image of your passion has been swallowed whole by Some Hollywood Film that just makes shit up]...

but it is still incredibly vexing to me how so many people who are clearly very well-versed in and passionate about norse myth will tell you that mcu thor is terrible while displaying the most surface-level understanding of it.

like. argh. obviously it's fine to personally dislike something for being inaccurate, but "inaccuracy" is not necessarily an artistic flaw in and of itself. sometimes change is just change.

"ah," you say, "but i don't dislike it for being inaccurate, i dislike it because all the changes are simplifying and reductive." are you sure? is it really that the version you know is complex and subtle, and the version you're seeing for the first time is shallow and dumbed-down... or is it just that you're seeing this version for the first time? is it actually less complex" or is it just complex in different ways from what you're expecting?

but also, mcu thor was never going or trying to be mythologically accurate, because it's literally not an adaptation of the myths. it's an adaption of the comics.

yes, it definitely would be cool to have a blockbuster film that accurately depicted norse myth... but that film wouldn't be "marvel's thor". because marvel's thor is his own entity, and he is not interchangeable with his mythological counterpart. if you wrote about myth!thor when you were meant to be writing about marvel!thor, that would be inaccurate too, and, unlike the films we have, you would be failing your brief.

and god it's just really frustrating because like. even a lot of people who like these movies don't see what they're doing, and don't understand that the simplistic hero narrative is something they're setting up specifically to knock down... but that's going to be even harder to see when you're trying to view the movies through a myth lens, given that they're designed to be viewed either through a comic lens or no lens at all.

you need to trust these movies if you want to see what makes them good, and if you come in with the wrong set of expectations, they're not going to look very trustworthy! they're trying to critique and re-complexify the simplified narrative of (the worst version of) the comics, but if you don't know the comics, you're going to think the movies did all the simplifying themselves, and if you don't have patience or faith in the movies, you're not notice to see the self-subversion going on.

which would all be difficult enough to begin with. but then we also have the fact that these movies are near-universally seen as Bad Movies, disposable, soulless, low art, unworthy of study, etc etc. which means that simply trying to defend them is going to lower your credibility in a lot of people's eyes, and the likelihood of anyone ever actually listening to you and believing you on this topic is pretty much negligible. it is at this point that i conclude that i have most likely fallen victim to a wizard's curse and should resign myself to being trapped in the labyrinth(tm) for the rest of my days.

[iamashippinggod]

... Okay, so no one is going to say it... So I guess I'll be that bitch-

For those of you who are claiming to despise the the live action adaptation of ATLA, allow me to say this; adaptations are never meant to be 100% accurate. If you wanted 100% accuracy, then what's the point in remaking it for the live action version when you could just go back and watch the OG?

I genuinely like how they adapted it, it still keeps things family friendly. Sure, they took some stuff away like Sokka being misogynistic until he meets the Kyoshi Warriors, or Pakku being the one who made Sokka and Katara's mother's betrothal necklace. But in the grand scheme of things, those things don't make the entire plot.

Are there some things I wish they kept in? Yes. Am I disappointed that they didn't? No. The acting (in my opinion) wasn't nearly as bad as other shows/adaptation that have been brought out before. And compared to the movie that shall not be named, this was a much more faithful adaptation that makes me want to watch another season. Like, if it wasn't for the fact that I've already rewatched the OG so many times before the LA came out, I would have still loved the LA just as much.

Plus, we're only seeing the first season so far. If it gets renewed for a season two, the next season could be much better. So that being said. If the whole argument is that the adaptation wasn't 100% faithful, or that the acting was crap (which it wasn't, the actors did a wonderful job), then just go back to the OG instead of crapping all over the LA.

[spider-xan]

Honestly, I feel like there would be a lot less frustration with the Coppola film if it was completely irredeemable trash with zero good things going for it bc then we could just write it off as an awful film and laugh at it for what it is - but the fact that there are SO MANY great things about it that are worthy of praise, and we know Coppola generally isn't a bad filmmaker, is what makes it so frustrating, precisely it could have been an amazing high-budget film adaptation that was accurate to the novel and the indisputable definitive version, and then it swerved and made the framing and other choices that it did, with its specific vision superseding the actual text; and ofc there's the title issue of including Bram Stoker's name and implying a faithful adaptation, though I think Coppola tends to do that with straight book adaptations to credit the author, like how The Godfather's full title is actually Mario Puzo's The Godfather.

Like, the casting is amazing! Winona Ryder is perfect as Mina! Anthony Hopkins is inspired casting for Van Helsing! Even Keanu Reeves, with his questionable acting and accent, is at least cute as Jonathan, and his star power at the time makes sense for why he played the role. The costumes designed by Eiko Ishioka are honestly among the greatest film costumes ever, and she rightfully won the Best Costume Design Oscar that year! Love the liminal creepiness of Dracula's castle and how his shadow has a life of its own! Everything about the way the scene of Lucy entering her tomb as a vampire is filmed is sublime - the lighting, the cinematography, the camera angles, the eerily chilling on a visceral level music and sound design, the make up and costume, the way the candles supernaturally light themselves, etc. Quincey is actually included for once! Even some of the epistolary format is retained, with things like the log of the Demeter narrated over scenes on the ship, Mina typing on her typewriter, Jack recording on a phonograph, etc. There are honestly a lot of positive things that can be said about the film, and Coppola does know what he's doing on a technical level, along with the talented cast and crew.

And obviously, no adaptation is going to just copy the text exactly for various reasons, like film being an audio-visual medium with a shorter length than a novel, adaptations being filtered through the lens of their creators and reflective of the social milieu they are being created in, commercial box office considerations bc capitalism, etc., and I think being faithful to the spirit of the source material is more important than textual purity, and a lot of this is going to be subjective on the part of viewers as well. But yeah, it's like, personal preferences aside, the Coppola film just came SO CLOSE to being a film adaptation that's both accurate to the novel and incredible cinema at the same time, but then it made directing and screenwriting choices like Mina just being Dracula's love interest and having none of her heroic moments (all removed or given to the men), everyone being a total asshole, Dracula going back and forth in characterization bc the film can't decide if he's a sympathetic romantic hero who just wants true love or a scary monster villain who wants to take over England and eat people, and you kind of need the latter to drive the plot outside of the romance, etc.

We could have had it all, and that's what is so frustrating to me, along with how the film is so definitive that it gets projected back onto the original novel and just about anything Dracula.

[lordisitmine]

TTNBD BLOG: PART TWO

Welcome once again, to the extended author’s notes! That’s kind of how I’m thinking of these posts. This post covers the details of chapter two of the story, (chapter 3 on ao3 if you’re just looking at the numbers), entitled What a Tangled Web We Weave. So, spoilers if you haven’t read that yet.

HISTORICAL ACCURACY

In this week’s retrospective, I’d like to talk a little bit about historical accuracy. If you’re anything like me, you like watching and reading a lot of things that take place in past eras. If you’re like me, you hate when something- be it a phrase, an outfit, a hairstyle, or a reference to people/events- is egregiously incorrect to the time period being portrayed. Big anachronisms drive me crazy.

However, there’s a level of inaccuracy that I don’t actually mind- if it helps better the story without taking me too much out of the fantasy, or if it adds something to the setting while not detracting from the believably- I’ll allow it. Basically, what I’m saying is that, like a lot of other aspects of writing/art, historical accuracy is about finding the right balance. Or, getting as close as you can to the target of perfect. With fanfiction, I think the margin is even wider- I try not to take this medium too overly seriously, especially when I’m reading and enjoying something someone else has written. I’m a little tougher on myself, though I hope not too tough.

I like to call what I do “movie-accurate”. A lot of my favourite period films have things in them that just aren’t correct, but because I love those movies so much, and because the overall vibe is close enough to what I know about history, I let it slide.

For example, in the 2005 film Pride and Prejudice, the hairstyles of the young women, as well as some of their dress styles are quite off from what women’s fashions were actually like at the time in which the novel/movie was set. The 1995 BBC miniseries adaptation is far, far more faithful in terms of aesthetics. However, the 2005 film is incredibly beloved by a lot of Jane Austen fans, despite its inaccuracies! Because it’s a fucking good movie, which sells the characterization and romances so well that you can sort of excuse the “dumbing down” of the details. It’s one of my favourite period films, and films, period.

Obviously there are bad movies that don’t even try to be accurate, but when I say “movie-accurate” know that I’m talking about the good ones.

During the course of Though the Night be Dark, I’ll be making a lot of references to/descriptions of outfits and hairstyles, because I’m pretty sure I was a fashion designer or personal stylist in my past life, but not all of them will be totally accurate to the years 1899/1900. That goes for stuff like technology, too- it won’t ever be over-the-top (i.e. they’re not gonna have television in the year 1900) but if you notice stuff that seems just a little out of place, know that I felt it was necessary to fudge the numbers, so to speak, in pursuit of the characters, the romance, and the story itself.

This same sort of “movie-accuracy” applies to the settings. I’ve never been to Paris or London in my life- I’m broke and there’s a whole ocean in between me and Europe. I do my best to research and reference actual places and landmarks, but if you do live in either of those places and what I write seems fantastical or inaccurate, I am sorry, believe me. Please forgive me, and do your best to imagine these as like, imaginary versions of these places.

I don’t know why I’m defending myself- most people probably don’t mind, and some probably don’t notice things like this. But it’s important to me to be as accurate as I can be within the scope of my ability, and it’s important to me for people to learn about my process if they want to. I digress.

CHAPTER TWO: WHAT A TANGLED WEB WE WEAVE

Sometimes I pick titles because they’re references to things, and the words/themes of the things in question closely fit the character and the story. For example, To the End of Everything is a lyric from the Adam Lambert song Sleepwalker, which was on my SebaCiel playlist back in 2014 when I was first writing it. It fit the story of the end of Ciel’s life, and the end of his contract with Sebastian, and it’s such a nice set of words to say out loud and look at on a screen.

The first chapter of this fic, A Far, Far Better Rest, is a reference to the final line from A Tale of Two Cities by Charles Dickens. Two cities, London and Paris, both of which are the settings for TTNBD. Not a super deep reference, but there’s a reason for it.

What a Tangled Web We Weave is also a reference to something- part of a famous line from am 1808 poem Marmion: A Tale of Flodden Field by Sir Walter Scott. It’s set in the time of Henry VIII and tells the romantic and ultimately tragic story of some rich guy and his affair with a woman. The full line is what a tangled we weave/when first we practise to deceive.

I picked this title for three reasons: one, because it has the word web in it, and Claude is a spider demon. Two, because it’s about lies, and lies are the basis for some of the upcoming conflict in this story. And three, and most chief among the reasons: it sounded cool.

What can I say. Sometimes I write/use things are deep and profound, and sometimes I just use things I think are kinda neat. I try, as always, to strike a decent balance.

Alright, let’s break this chapter down.

We started off with a remix of a scene from the second season of the Black Butler anime. It’s a little infamous, to be sure. I’m speaking of course about the scene where Alois shoves his finger into Hannah’s eye socket! I know that in the original scene he doesn’t actually pull out her eyeball, but I wanted to go whole-hog, I think it’s just extra insane and I wanted you to know what kind of Alois Trancy character I’m playing with here. He’s an adult here, whereas he was a kid in the anime- I don’t know, I just thought the increased level of brutality suited him.

I pulled actual dialogue from the scene and repurposed it, which I love doing and have done many times in my fanfic writing career (side-eye at my Supernatural fics). I wrote it from Claude’s POV because I love that outsider POV in a scene. I also wanted to establish his thoughts and feelings about Alois right off the bat.

Cards on the table: I haven’t watched the second season of the anime in a very long time. I watched the first few episodes some time last year I think??? When I was deciding to write this story, just to get a feel for their characters/relationship again. I’ve seen them portrayed in fanon as everything from a toxic couple to a couple who are more actually in love, like Ciel and Sebastian- I very much don’t see that for these two. Their tension is different, and in the context of this story, it’s been years, and that tension is heading towards a boiling point.

What I’m saying is that I’m sorry to any real die-hard Alois and/or Claude fans in advance if I do stretch them too far out of the OOC allowance margins… but also no I’m not hehehehehe.

Claude mentions Alois reading penny dreadfuls. Penny dreadfuls were these cheap little serialised fiction zines you could buy for a penny, hence the name. Every volume was like, an 8–16 page chunk of a story. The dreadful part comes from the fact that they were highly sensationalised and sometime salacious stories about murder and highway robbery and pirates and stories of real-life criminals doing heinous murder and such- sometimes sold at public executions! Overall, these things weren’t considered Proper English Literature. Which of course meant that they were VERY popular. Mostly in the early to mid 1800s. As far as I know, they started to lose ground in popular culture by the turn of the century, but they existed, I think they were cool, and therefore I can include a reference to them!

Penny dreadfuls weren’t really about romance or sex but they were super popular among young people, and the idea of Alois reading trashy romance novels in general is just hilarious to me. And like I said, I just really wanted to reference something so undeniably Victorian.

And yes, for the purposes of this story, he does in fact know that Hannah is a demon. Did he know that in the anime? I think maybe he did, but like I said, it’s been a while, and I don’t remember. I could go back and watch it again, but I don’t want canon to mess up my fanfiction. Anyway, the fact that Alois knows Hannah is a demon will become relevant and important as the story continues, so I won’t say too much more about it.

Back to Paris- it’s time for more Lizzy content! There’s quite a bit of that in this chapter. Originally, this chapter and the next one were originally just supposed to be one chapter, but the whole thing got too long/had a natural breaking point in my mins, so I split it up.

These parts of the story are more difficult to write- they involve the OCs a lot, and there’s lots of things to establish. It’s hard to do that without getting to in the weeds or being really clunky, but on the other hand, I can’t forget that anything outside of canon references is in my brain and no one else’s, so I have to make sure to cover the important stuff.

This is my first time writing F/F romance! That’s not quite true. I’ve been writing original stories with F/F romances in them for years and years- this is my first time writing an F/F romance that other people are actually going to read. Thankfully, being a lesbian, I have actual experience falling in love with women, so I have lots of real-life stuff to draw from. I didn’t realise how much of my own past and current crushes and preferences wormed their way into the Lizzy/Sybil dynamic. I’ve read posts before about how romance/sex scenes are always revealing of the author’s preferences/feelings/kinks, and I was like “not me haha I am Unknowable” but I guess I can’t say that anymore oops.

When it comes to labels for fictional characters, I don’t like to use them/talk about them unless it’s been explicitly stated in canon. For example, I would never say a canon bisexual character is exclusively gay, that would be bi erasure and we don’t do that shit here. This is especially relevant when it comes to time periods where terminology was different, and labels hadn’t been invented yet/didn’t mean the same things.

I’m trying to write Lizzy in a way that the reader can interpret any way they want! If you want to read her as bi or as a lesbian, that’s fine, I have no hard opinion on the subject! I think it makes a lot of sense that she’s bi, I think that there’s a case for her being a lesbian who’s had to deal with some hardcore compulsory heterosexuality.

However, Sybil is my character and therefore I do get to say what she is, and she is a lesbian. Stone cold homosexual. Again, not that it matters, I just like saying it.

Lizzy and Sybil’s romance isn’t a full-on slow burn per se, but I’m really enjoying building it up here brick-by-brick. At this point, she and Lizzy have been friends for a long time and already know each other really well, so the “to lovers” part can kind of come into play early, but I’m not going to give it all away at once- where would the fun be in that?

Let’s talk about Verity. Madame LaChance if you’re nasty. Verity, of course, means truth, and la chance is French for luck. I kind of wanted her to be straight up called “Lady Luck” but that was a bit TOO hokey, even for me. I wanted there to be an auntie-like side character, and I said to myself, what if there was a character who was like, all the good, lighthearted parts of Grell and Madame Red without any of the “oh btw I’m insane/also a serial killer”. I thought it’d be funny if she was sort of a go-between, having friendships with both Sybil & Lizzy as well as Ciel & Sebastian without any of them being aware of it. She became a bigger part of the story than I’d originally intended- she sort of stole my heart, maybe she’ll steal yours too.

She’s a little mysterious, but I can promise you she is a normal human. She’s just very… unique, I guess you could say. No more spoilers.

I’m being sort of vague about the club and what it’s called and what it looks like, there’s a lot more about it in a future chapter, don’t worry. Also, Madame refers to Ciel as Monsieur Phénix and Sebastian as Monsieur Corbeau. That’s French for phoenix and raven respectively. Stage names. Code names. C'est très dramatique. (No, I don’t actually speak French, beyond some very basic words and phrases.)

I hate to admit it, but I felt woefully out of my element while writing this part and I'm not 100% happy with how it came out I knew I wanted to have some reason to show Sebastian and Ciel going about their day-to-day lives, but I was also struck by the lack of, like, drama or action so far in the story. I fell back on the old adage of “write what you know” and had the boys not solving crime per se (there will be time for that later) but perhaps avenging somebody. I don’t think Ciel will ever give up his vengeful nature, whether its on his own behalf or someone else’s. And for Sebastian, it’s just bad business, and we can’t have that, can we?

There are a whole two paragraphs from Little Women by Louisa May Alcott in this next scene. I don’t know if that book is meant to be sad, but it made me terribly melancholy when I read it as a kid. Also, there I go again referencing literature. I pulled the same trick in next week’s chapter too, which I didn’t even realise I was repeating until I’d already done it. Oops.

“-And nobody saw Beth wipe the tears off the yellow keys, that wouldn't keep in tune, when she was all alone. She sang like a little lark about her work, never was too tired for Marmee and the girls, and day after day said hopefully to herself, "I know I'll get my music some time, if I'm good."

"There are many Beth’s in the world, shy and quiet, sitting in corners till needed, and living for others so cheerfully that no one sees the sacrifices till the little cricket on the hearth stops chirping, and the sweet, sunshiny presence vanishes, leaving silence and shadow behind.”

I wanted Lizzy to be reading aloud in this scene and this reference jumped out at me when I was trying to think of books that existed at the time and that characters this age might have access to. Beth of course is short for Elizabeth, and Lizzy’s arc in this story is about her becoming her own person in a lot of ways, or like, realising who she is, and this quote about Beth feeling like she’s in everyone’s shadow and only exists to do things for other people seemed really appropriate.

There’s a little more insight into Simeon- I drew the photograph described in the scene so you could get an idea of what Simeon looks like. I really like writing Simeon. He’s such a Good Dad. I mean, he’s bound by his word to be a good dad, but he really loves Sybil so much and wants her to be happy. But there’s also so much going on beneath the surface. I know most of you have figured out his true nature by now, but I hope that I still have the ability to surprise you in the long run when it comes to him.

Once again, thanks for reading! Comments and questions are always welcome, and I’ll see you all again next week! Special shout-out to vandorttranslations, who is translating this story into Russian as we go! It will never not be amazing to me that someone feels strongly enough about my work to undertake such a task!

-lord_is_it_mine

[a--p--i]

I HAVE A CONFESSION

I absolutely love all the fanart that is coming out of the atla live action series, but the series itself is so hard to watch 😭😭 does anyone else relate? And if others really like the adaptation I wanna know why so I can try and rewatch it with fresh eyes

I feel like the storytelling isn't good. I don't mind if it's not faithful to the original, but I feel like there is so little humor or mystery and the soundtrack and lack of sound effects don't help. Also, some of the original plot they absolutely shouldn't change. Uncle isn't funny, sokka isn't misfortunate, katara doesnt get mad, aang isn't goofy, etc etc. The Gaang don't go off and have enough fun little adventures together, or learn about loacal customs, beliefs, culture, etc. Everyone's personality is just kinda flat. And the whole deal with ozai wanting his son back... like is it historically accurate? Probably. But the point of the original was that ozai doesn't want his son back because azula is a better child soldier. This is kinda important for the plot :///

And I am particularly mad about katara and suki. I feel like their personalities are so much more watered down than the original. Like this is not as empowering at all for us ladies :/ I want to see suki messing around with sokka and him simping over her that. I want to see katara lose her temper and be rebellious and get genuinely scary and powerful. I really liked that about her in the original show, and it's like the completely declawed her in the live action.

And don't even get me started on the fucking spirit world. That thing with koh was complete bullshit.

The worst part is I really liked the casting and costume and set design. Snd the fight scenes are pretty good. A lot of it was culturally well thought out, and then the writing just didn't deliver. I feel like it would have been a great way to work in some eastern philosophy/religion like animism or Taoism or ancestor worship and it really fell flat. I want to support the actors and I wanted this show to be an aapi win for us so i kept watching. But I have to say I'm kinda let down

Best part of the thing is that people are getting back into the fandom tho so I hope people still keep creating

[marshmallowgoop]

Excuse me, I want to ask a question. Is it ethical to like the Kill la Kill dub? I noticed some of the changes in dialogue between it and the sub. I ask bc the kill la kill dub is my favorite dub of all time.

Hi there!

This has obviously been sitting in my inbox for a while. I haven't been quite sure how to respond.

Maybe I can start by posing another question: is it ethical to like a movie adaptation of a book that makes changes?

A translation—be it of a book to a movie, or of one language to another—is always going to be different from the original. There's no getting around that. But I in no way believe that this means we shouldn't try to translate books to screen, or that works in one language should only ever remain in that one language. Translation increases accessibility so that more people can enjoy and engage with a text.

Of course, however, I do recognize that accessibility is also a concern for particularly loose translations. For those unable to read, a movie or an English dub of an anime may be the only way they can enjoy a story—and if there are drastic changes, is that really fair?

It's not a question I can definitively answer. But personally: though it's not Kill la Kill related, I eventually want to finish writing my report about Anime NYC's English dub premiere for the 24th Detective Conan film, The Scarlet Bullet, which released last month. And the tl;dr of my thoughts really boils down to how disheartened I was by the movie's script. Unlike the series's English dub from FUNimation, which changed characters' names (and occasionally dramatically altered plots and dialogue), Bang Zoom! Entertainment's dub is very accurate—to the point that I felt it was to its detriment. It sounded like the actors were simply reading subtitles, not speaking like actual humans; I scribbled down several lines during the showing with the thought, "No one would ever talk like that." While I certainly have my concerns with how many creative liberties FUNimation took, I desperately missed it watching the new dub. The script felt so stiff and lifeless.

So, another question: is it unethical to make changes to the source material to better fit the translated medium?

It's again a question I can't definitively answer. But as I've said about Kill la Kill...

. . . the dub script and actors are taking some liberties with the material—while still keeping it in-character, in my opinion—and coming up with stuff that maintains the energy and feel of the original lines but is still new and different. That’s what I like in a dub; it’s faithful, but it isn’t afraid to mix it up a bit.

And Detective Conan:

Loosey-goosey dubs that take lots of creative liberties with the material are my favorites. I think they’re so much fun and add so much flavor. Not to get too "subs versus dubs" here, but as I see it, a dub is an adaptation, much like how an anime can be an adaptation of a manga, and I like it when adaptations put their own spin on the work and breathe a new life into it.

I'd personally much rather a translation be lively and creative and different than try so hard to be as accurate as possible that it loses so much soul.

But that's just my take!