#the physical version also came with bonus art and a bonus comic at the end and I lost my mind it was so freaking cute !!!!

[derelictdumbass]

Taking a break to show u my wife and genderless husband

I am gnawing on my hands—

My physical copy of Sacred Bodies just came in, I am so excited aaaaaaa !!!!!! My queer indie graphic novel collection grows 😤💕💕💕

[tyrantisterror]

The ATOM Create A Kaiju Contest

All fifty ATOM Kaiju files are now up on Horror Flora for the world to see.  You can now look at the designs, stats, and brief bios of the fifty-some kaiju that will appear in my novel-in-progress, The Atomic Time of Monsters.   But the event that gives the novel its name – the titular atomic time period – has far, far more than that.  In fact, while only fifty or so monsters appear in the novel itself, at least six times that number will be running around just outside the pages – the unseen kaiju of ATOM.  But I’ll level with you – I can draw kaiju for days, and have literally done so since about mid-December 2016, but I’ll never be able to draw up 300+ solid kaiju concepts.  I mean, ok, maybe if I keep at it till I die, but I have a lot of other stuff I want/need to do.  So that’s where this contest comes in.

Like some of the best fiction, I’ve left a tantalizing gap in my story for other writers to fill in.  Like a narcissist, I’m hoping people would want to fill in their gap.  There are literally dozens if not hundreds of monsters left unseen – how would you like to give them a face?

THE RULES:

1.  You may create and submit up to FIVE different kaiju for the contest.  They must be your own creations – no plagiarism will be tolerated.  You can cheekily reference pre-existing monsters though – we all know the 50+ canonical monsters in ATOM do.

2.  The kaiju you create must specifically be created for this contest  - no repurposing characters you made for other, wildly different stories.  It’s more gratifying to my ego of a fun thought experiment that way.

3. The kaiju must fit the design aesthetics, story themes, and overall tone of ATOM's kaiju. They should feel like B movie monsters from 1950's/60's pop culture.  The better they match this aesthetic, more likely you will win the contest.

4. The kaiju must also fit the setting ATOM.  Remember that “kaiju” has a story specific definition beyond being just a big animal, that most dinosaurs didn’t exist in ATOM’s world (i.e. no feathery t.rexes), and that the alien fauna of Mars, Venus, and the various made up planets follow very specific body plans.  The Atomic Time of Monsters starts in 1954 and ends in 1968 – your entry has to take place in that rough time frame.  I plan on posting some ATOM Bonus Files between now and the deadline that explain aspects of the setting in more detail.

5. The kaiju should add something meaningful to the world of ATOM. What would be the point of having another fire-breathing t.rex monster?  The more unique and interesting your kaiju is, the more likely you will win the contest.

6. The kaiju must be independent of the main plot of ATOM - not "Tyrantis's long lost evil brother who's the strongest kaiju in the world". These should be to Tyrantis's story what War of the Gargantuas is to Godzilla's movies – heroes (well, monsters) of another story in the same world.

7. Your kaiju must have some sort of description of its physical appearance and its personality - you can submit a drawing or a written description (or both!) for the physical appearance depending on what you’re most comfortable with.

The Deadline for this contest is MARCH 16, 2017.  You have roughly two months to work on your submission(s).  To enter you just have to make me aware of your submission - tag me in a tumblr post, send me a message, etc.  It can be on tumblr or on another website - so long as it exists and I can access it, it works.  It

But what about the prizes, you ask?  Well, I’ll put that information (along with some other rambling suggestions and tips) after the cut, but the biggest prize will be making a whole shitload of weird retro kaiju.

Ok, so: PRIZES, PRIZES, PRI-ZIZZES!

RUNNER UP PRIZES:  I will sketch every kaiju entered in the contest, and compile them all in a great big post with a few sentences of commentary on each one.  Every person who enters the contest gets this prize.

THE TOP 5 WINNERS: I will fully illustrate my top 5* favorite kaiju entries and publish them – WITH CREDIT – on HorrorFlora.com as ATOM Bonus Files.  This means they will be considered SEMI-CANONICAL in ATOM’s lore – you will retain rights over your creation, of course, but they’ll also be considered part of the ATOM expanded universe.  *Note: I may increase or decrease this number depending on how many entries the contest gets, or if I just love a crap load more monster than just 5.

THE GOLD MEDAL WINNER: The creator of the winning entry will not only get the prizes from the previous tiers, but will also get to choose one movie for me to liveblog.  It can be any movie – good or bad – so long as 1. I can legally view it in the United States and 2. I don’t have to go into a porno shop to legally view it (thank glarnbodin for bringing up this possibility when I was brainstorming prizes).

TIPS

I’ve got a few tips, but one is so important it needs to be more than a bullet point.  The most important tip for this contest is as follows: I’m looking for Beeruses, not Brolys.

What do I mean by that?  Well, firstly, you need to watch Dragon Ball Z.  Secondly, the hit anime Dragon Ball Z had several non-canonical movies made by people who weren’t the main creator/writer of the manga the anime was based off of.  These movies had to fit in the gaps of the original story, and theoretically hoped to add something new and worthwhile to the story.  Most of them did not succeed.

Broly is the main villain of three of these movies, and basically was defined purely in relation to the main characters: he was like the hero, Goku, except bigger, more powerful than anyone else, and evil.  He didn’t really have a strong motivation, or any personality at all beyond “hates everything and loves destroying stuff”.  He was only defined by his ridiculously immense strength and how violent he was.  Overall, he contributed very little, didn’t fit the tone of the larger story, and yet was deeply connected too/defined by the main plot – the opposite of what my contest rules ask for.

By contrast, Lord Beerus, a villain introduced in a later movie, brought a lot more to the table.  He fit well within the canonical world of the story, both in design and his over the top yet complex personality (unlike Broly, Beerus has many solid motivations and a many dimensions to his character).  While he was somewhat connected to the plot of the overall story, he was also fairly distant – he had never met the main character before, and neither one of them knew much about the other.  The story of their conflict was similar to previous stories in Dragon Ball Z, and yet had several twists that made it feel utterly unique.  Beerus contributed a lot to the world and cast dynamics of the story, fit in with its tone, and was disconnected enough to what came before to feel like he was adding something new.  The only reason he’s not a shining example of what I’m going for (well, other than him not being a kaiju) is that he was made up by the original creator of Dragon Ball Z.

But still, the point stands: I’m looking for Beeruses, not Brolys.

In fact, I had to change my original pitch for this contest because of this rule.  Originally I thought of this as the “Lost Projects of ATOM” – making the ATOM equivalents of weird, cut kaiju from the Godzilla series.  But while I was thinking of oddities like Mogu and Majin Tuol, I realized most people would think of characters like Bagan – the Brolys of the Godzilla world.  This is why one of the rules of the contest is that the kaiju have to be separated from Tyrantis’s story in ATOM – if your monster isn’t a foe of Tyrantis, there’s less of a risk of them taking things to Broly style “I made a monster that’s bigger and meaner version of your monster” antics.

So one final time:  Beeruses, not Brolys.

Now, the other tips:

• ATOM’s aesthetics are mainly drawn from pop culture of the 1950’s and 60’s.  The obvious main inspiration would be the giant monster movies of that time period – the Showa Godzilla movies, The Beast from 20,000 Fathoms, Them!,  The Deadly Mantis, etc. – but other sci-fi and horror stories of that time period apply as well.  This includes movies that were rereleased in this decade – King Kong was made in the 30’s, but was rereleased in theaters in the 50’s to great success – as well as other forms of media published at the time, like comic books, novels, and even some songs.  Silver Age monster comics from Marvel, like Tales to Astonish and other great titles by Jack Kirby, are just as entwined in ATOM’s DNA as Godzilla. • You can also work some modern design sensibilities here and there.  Tyrantis’s overbite is far more common in dinosaur art from the 70’s and 80’s, while creatures like Pathogen and the Writhing Flesh owe a lot to body horror movies of the 80’s and video games like Resident Evil.  These elements shouldn’t be the PRIMARY aesthetic, however – the 50’s/60’s vibe is still more important to capture. • ATOM works on Hollywood Science and, even more than that, child logic.  Scientific accuracy is far from a priority – science is something ATOM uses occasionally for flavor, rather than an essential ingredient.  Feel free to get weird, silly, and stupid to an extent . • Kaiju in ATOM are always characters and need to be expressive in some way.  That’s important to the story’s theme – even the most wicked monsters in the story (with one possible exception) have a sympathetic side to them, and they need to be able to show it. • If you looked closely at the rules, you’ll notice an inherent contradiction: entries will be judged both in how they fit the story, and paradoxically in how they add something new to it.  This might feel like a bit of give and take – a retrosaur would definitely fit, but might feel redundant, while, say, a giant lion might add something new but feel out of place.  Don’t be scared to embrace one of the two at the expense of the other: you can make up to five entries to hedge your bets, and you might actually do a lot better focusing on some of the required elements anyway.

You can also feel free to adapt some monster concepts I failed to make work, including (but not limited to - check my old DA gallery or my thirty day kaiju challenges on my art tumblr for more):

Giant grasshoppers

Giant rabbits

A Sabre Tooth Tiger Monster

Basically any amphibians

Basically any birds

A giant gila monster

Giant shrews

Most mammals really

Finally, here are some links to things that helped inspire ATOM’s aesthetic, so they may inspire you in turn:

[aion-rsa]

Tell Me A Story: 15 Weird Superhero Comic Book Formats

Over their several decades of existence, American superhero comics have had to adapt to changing market conditions and changes in reader habits. Anthologies were more popular in the Golden Age but dwindled away as the Silver Age ended. Early Marvel superhero books incorporated continuing subplots to create super-soap operas, and DC naturally followed suit. Today, even as the individual issue with 20 story pages still dominates as the standard comic book format, many readers wait for collected editions.

RELATED: The 15 Weirdest Comic Book Swimsuit Specials

And yet, every now and then there are isolated instances of experimentation in which a publisher bends those dominant formats to either stretch storytelling possibilities or just to attract attention. Never mind the menagerie of 1990s-era cover gimmicks or the modern effects that digital and motion comics can achieve; good old-fashioned print had some surprising tricks. Today, as the “Kamandi Challenge” revives an old DC experiment, we look back (in no particular order) on some odd and unusual ways to present superhero stories.

ROCKIN’ ROUND-ROBIN

If you think creative teams don’t stick around as long as they used to, then you need to consider the round-robin format used in 1985-86’s “DC Challenge” miniseries and currently in use by the “Kamandi Challenge.” Each issue has a different creative team and the only real rule is to end on a cliffhanger for the next team to resolve. Notice that the rules don’t include “tell a coherent story,” because as much fun as the “DC Challenge” teams apparently had on each of their issues, boy-howdy was it hard to follow!

It started with Superman, Batman, Wonder Woman, Adam Strange and some demons in Mark Evanier and Gene Colan’s “DC Challenge” #1, but before it was over, Nazis had won World War II, Superman had a red sun for a head and the JLA Satellite was full of confused super-people. Nevertheless, the round-robin can stretch the capabilities of both readers and creators, and it truly shows off comics’ limitless potential.

A BIG DELIGHT

Likewise, we include the ubiquitous one-page Hostess Cupcake ads of the 1970s for the only rule they appeared to have: Make sure the product is the star. That was the point, of course; but for readers used to Batman and Daredevil fighting ninjas and serial murderers in their regular books, the ads were a bit jarring to read.

Although they featured even wilder plots than the regular comics (birds stealing the Statue of Liberty, for example) and used ultra-powerful characters like Green Lantern and Captain Mar-Vell, the day was always saved by the timely appearance of Twinkies, Hostess Cupcakes or Fruit Pies. Granted, who among us can resist rich chocolate taste and/or creamy filling. But the ads were so prevalent that, after a while, one got the impression that the Justice League and Avengers could have saved themselves a lot of trouble by stuffing the Anti-Monitor or Thanos full of sweet treats.

COMICS WITHIN COMICS

In the early 1980s, DC previewed new series with 16-page stories bound into the middle of selected single issues. The “Amethyst” preview was in “Legion of Super-Heroes” #294, “All-Star Squadron’s” was in “JLA” #192, and a little series called “New Teen Titans” was first seen in the middle of “DC Comics Presents” #26.

These previews didn’t have anything to do with the titles they appeared in, but later in the decade, “Bonus Book” inserts tied in more closely and featured up-and-coming talent. Today, the format is back, sort of, through “Dark Knight III’s” bound-in mini-comics. Basically they’re backup stories, but since they’re physically in the middle of the issue, you have to get around them in order to finish reading the main story, and then circle back and hope you read everything in the right order. Whatever you do, though, don’t risk your comics’ value (or its staples) by removing the inserts.

HEARD ANY GOOD PICTURES LATELY?

Another staple of the 1970s, Power Records specialized in book-and-record sets where kids could read along with an audio dramatization. Along with superheroes, the label featured sci-fi franchises like “Star Trek” and “Planet of the Apes.” While Power adapted existing issues, like September 1972’s “Fantastic Four” #126, December 1973’s “Captain America” #168 or January 1974’s “Incredible Hulk” #171, Neal Adams’ Continuity Studios also produced original stories for the label.

These included the Batman tales “Stacked Cards” and “Robin Meets Man-Bat” (reprinted in “Batman Illustrated By Neal Adams” volume 3); Superman stories by Cary Bates, Elliott S. Maggin and Ross Andru; and a 1976 Conan adventure by Len Wein, J.M. DeMatteis and John Buscema that was reprinted as November 1980’s “Conan” #116. Although the novelty comes from hearing an actor screech like Man-Bat or roar like the Hulk, we imagine “writing for the record” is a skill set all its own.

NEXUS IN STEREO

Sometimes the soundtrack is part of the main series. “Nexus” was a superhero series set 500 years in the future, initially published under Capital Comics and now owned by Dark Horse. Writer Mike Baron and artist Steve Rude’s independent sci-fi superhero classic started out as a magazine-sized black-and-white comic.

Bound into its third issue was a “flexi-disc” with the “Nexus” theme song (co-written by Baron) and an audio dramatization. An editorial explained the benefits: “The intonation of a character’s voice, background music to set the mood and electrifying sound effects all add new depth and dimension to the printed words and art.” While flexi-discs wouldn’t be in every issue, the editorial promised “next time we do this it’ll be even better.” However, there was never to be a “next time,” unfortunately, as the flexi-disc doesn’t show up in reprints and there weren’t any future issues that came accompanied with flex-discs to enjoy. However, “Nexus” turned out to be memorable enough without the audio accompaniment.

INDEPENDENT VOICES

Although it’s not really a distinct format to pair mainstream, corporate-controlled characters with comics creators from more of an independent background, anthologies like the “Bizarro Comics” and “Strange Tales” series are often both entertaining and illuminating.

“Bizarro” allowed DC to reprint Kyle Baker’s instant-classic “Letitia Lerner, Superman’s Babysitter” and “Strange Tales” gave us Kate Beaton’s take on Rogue and Kraven. Tom Scioli and John Barber’s “Transformers vs. G.I. Joe” series, which merged the superfans’ knowledge with their unique styles and filtered it through a ’70s Jack Kirby lens, is also a good example of combining the best of both worlds. Of course, with the Internet, it’s become easier than ever to find cartoonists’ “unsanctioned” takes on superheroes, but the official sanctioning of a DC or Marvel anthology may sand down some rough edges. Still, the freedom these creators normally enjoy usually transfers pretty well, and we’re all better for it.

NEXTWAVE EXTRAS

Warren Ellis and Stuart Immonen’s 12-issue cult-classic “Nextwave” (2006-07) took shots at a lot of superhero-comics targets, but it also used some memorable gimmicks to grow an audience. Mixed into Fin Fang Foom’s pants-related anger, the filthy half of the Captain’s codename and Machine Man’s contempt for fleshy ones was the “Nextwave” theme. So too were things like issue #5’s “Crayon Butchery Variant.”

Yes, quite a while before adult coloring books became a thing, “Nextwave” encouraged its readers to cast off the shackles of hues imposed from on high and color the issue themselves. Granted, this was a variant, so readers had to make an extra effort to get it. So unsurprisingly, the non-colored version of the issue hasn’t been reprinted in any “Nextwave” collection. As a further incentive, though, Marvel conducted a coloring contest, and the winner’s name (Matthew Keegan, whose entry can be seen here) was forever immortalized in said collections.

EASY LIKE SUNDAY MORNING

The 12-issue weekly “Wednesday Comics” was designed to emulate the classic comics pages of Sunday newspapers, when adventure strips like “Prince Valiant” and “The Phantom” got ample room for their Sunday-continuity installments (Feel free to ask your grandparents for more details.). Each issue of “Wednesday Comics” folded up into a standard 7″ x 10″ comic-book size, but opened into 15 gigantic 14″ x 20″ broadsheet pages.

The features included DC’s A-listers as well as Kyle Baker’s “Hawkman,” Dave Gibbons and Ryan Sook’s “Kamandi” and Paul Pope’s “Adam Strange.” Neil Gaiman and Mike Allred’s “Metamorpho” even did two pages which combined to form the Periodic Table of the Elements. “USA Today” also published John Arcudi and Lee Bermejo’s “Superman” strip. The collected edition is similarly impressive, and includes a “Plastic Man” short feature; but nothing beat the love-of-reading experience from picking up each issue as it came out.

EVENTS PUBLISHED IN REAL TIME

One series which demanded to be read as it came out was 2006-07’s sequel to “Infinite Crisis,” the year-long weekly “52.” Since all of DC’s ongoing superhero comics had gone through a one-year time-jump, only “52” chronicled the missing year. Its brain trust, which included writers Geoff Johns, Mark Waid, Grant Morrison and Greg Rucka, and layout artist Keith Giffen, further imposed a strict real-time rule that each issue would cover one week. The only cliffhanger involved one issue ending at 11:59 p.m. and the next starting at midnight.

The method was popular enough, with some fans reportedly waiting to read each day’s events as they “happened,” meaning a fan on a Tuesday would stop reading on when he or she reached the part of the issue dealing with a Wednesday. There had been real-time comics before (the “Batman: No Man’s Land” epic played out over the course of a year, for example, from January to December 1999), but with elastic timelines a staple of superhero storytelling, “52’s” adherence to its internal rules was both a clever gimmick and a steadying influence on its pacing.

TRIANGLE TIME

Some superheroes are simply too big for one book, but when a hero has multiple comics titles being published, those books don’t necessarily have to flow together. When they do, however, the results can be quite engaging. In the early 1980s, Bat-writer Gerry Conway structured issues of “Batman” and “Detective Comics” so that “Detective” continued “Batman’s” stories, and vice versa. The format ended with 1986’s “Batman” #400, but not long afterwards the three Superman books (“Action Comics,” “Adventures of Superman” and “Superman”) picked it up.

To keep everything straight, the Super-titles put the reading order in a little triangle on each issue’s cover. It lasted about 10 years, before including the addition of a new monthly series (“Man of Steel”), as well as incorporating a new quarterly book (“Man of Tomorrow”) for the months that had five Wednesdays in them. It could be overwhelming at times, but the four series combined to tell some true epics, including the “Death of Superman,” “Funeral For A Friend” and “Return of Superman” story arcs.

PAGE-HOPPING

We’ve already talked about comics within comics, but Walt Simonson’s “Fantastic Four” #352 (May 1991) presented a story within a story, and the “inner” story was out of sync with the “outer” one! The main (“outer”) story involved Doctor Doom, Ben Grimm reverting back to the Thing, and Ben’s girlfriend Sharon Ventura giving up her own career as the Thing in her absence.

Doom had captured the FF and challenged Reed Richards to a duel using time-jumping devices. Their fight, which was waged across increments of minutes and seconds, was the “inner” story, and it unfolded in out-of-sequence vertical panels that ran alongside the in-sequence main story. Readers had to follow the timecodes in both stories in order to keep everything in order, and could check their work with the occasional panel where the two timelines intersected. It was a great use of single-issue real estate and the kind of innovative technique “FF” helped pioneer.

DIAL “R” FOR READER

Created by Dave Wood and Jim Mooney for January 1966’s “House of Mystery” #156, “Dial H For HERO” was one of Silver Age DC’s crazier concepts. It involved a magic “H-Dial” which would turn its owner into a randomly-generated superhero and, more often than not, a one-off character created specifically for the story.

The feature ran until issue #173 (March-April 1968) but was revived in February 1981 via a special insert (remember those?) in “Legion of Super-Heroes” #272. (It then moved to “Adventure Comics” and was a backup in “Superboy.”) This time, writer Marv Wolfman and artist Carmine Infantino’s gimmick was using characters submitted by readers, who both received credit for the idea and had a T-shirt sent to them in exchange for their intellectual property. While it was probably a time-saver for the creative team, no doubt they also wracked their brains trying to figure out how to work Lawnmower Lass, or whomever, into the stories.

THIS COMIC CAN KILL YOU

In “Animal Man,” Grant Morrison famously broke the fourth wall to introduce himself to the main character, Buddy Baker. Over 20 years later, Morrison would revisit the idea of characters addressing the reader directly in his “Multiversity” miniseries, especially in the “Ultra Comics” one-shot, which was an installment about a character named Ultra from the “real world” of Earth-33, who was a comic book come to life.

In other words, “Ultra Comics” was about itself, and by reading the issue, readers participated in the character’s life, including his birth and (very short) career. At the end of the issue, Ultra sacrificed himself by trapping his foe within the pages of the comic, begging readers not to let it out. To that point, “Multiversity” was already pretty meta-textual, so “Ultra Comics” was over the top on a number of levels. Nevertheless, the reader-participation angle gave the miniseries an entirely new dimension.

CHOOSE YOUR OWN ADVENTURE COMICS

One of the many tools in Ryan North’s utility belt is a knack for choose-your-own-adventure storytelling. Besides his great mostly-prose Shakespeare adaptations (“To Be Or Not To Be” and “Romeo And/Or Juliet”), he’s also written a couple of chooseable-path comics. In November 2012’s “Adventure Time” #10, he and artist Shelli Paroline crafted a labyrinthine tale about the Ice King putting our heroes under the control of a mysterious force (guess who) which got more and more twisted as the issue played out. The ending even depended on the sheer number of options the story eventually encompassed.

More recently, in June 2016’s “Unbeatable Squirrel Girl” #7, North and artist Erica Henderson allowed the reader to guide Squirrel Girl to victory against Quoggoth, Swarm, and/or Doctor Yes, with Galactus himself as your host. Chooseable-path comics aren’t new (see “The Unwritten” #17, for example) but North has brought them back into the limelight and made them a one-man trend.

TITANS SEPARATELY

Superhero comics of the early ’90s get well-deserved attention for the cover-enhancement craze. Therefore, to stand out from all the chromium and foil, DC promoted September 1992’s first issue of “Team Titans” with — wait for it — alternate interiors. That’s right, not only did “Team Titans” #1 feature variant covers for each of the five Titans, each variant also included the 18-page origin of its cover-featured hero.

Accordingly, if you wanted to get the whole story, you had to buy five different issues (all of which were written by Marv Wolfman). That was overkill, since the variants all shared the same 22-page main story; and on top of that, the main story was Part 3 of a Titans-franchise crossover! Those of you doing the math will realize that if you bought all five variants, you got 4 extra copies of Part 3 of the crossover. Needless to say, DC decided to keep the variants on the covers only from then on.

Got a favorite storytelling strategy or comic book gimmick? Tell us in the comments!

The post Tell Me A Story: 15 Weird Superhero Comic Book Formats appeared first on CBR.com.

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[barber50lindahl-blog]

Marvel Contest Of Champions, Hacks, Boards, Reddit, Wiki, Tips, Cheats

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[themediareviewer]

Miss Peregrine’s Home for Peculiar Children - Book and Comparison

As promised, following my review on the movie, here is my take on the book Miss Peregrine’s Home for Peculiar Children (2011) by Ransom Riggs. If you’re only here to see the comparison between the book and the movie, feel free to skip this next section of the post and check the following one lower down!

After I watched the movie by the same name (directed by Tim Burton), I knew this wasn’t the type of world I could simply walk away from. There were simply too many things unsaid, too many mysteries I still wanted the answer for -- and that ending! No, I couldn’t leave Miss Peregrine on that note. That is why on the following week, when I was walking about with a friend by a bookstore, we both stopped in front of this book, and the decision was unanimous: we both got a copy. I started to read it that very evening.

Now, people often mention that a book or another “is a fast read”. Well, I am a very slow reader -- the type who easily takes 10-20 hours to read a 300-page book. So when I say that a book “is a fast read”, I really do mean it’s a fast read. And this is definitely one of them. I must have finished it in 4 sittings of very short duration.

This isn’t generally a point I find particularly relevant when reviewing a book. What is the relevance of how quickly or slowly this book is read? Is Les Miserables a bad book because it’s long? Is Love Story bad because it’s short? No, this isn’t an element that we should be judging a book’s quality by. However, in this case, the speed of the reading is influenced by two things that I particularly enjoyed about the book:

- The pacing: Oh, the pacing. I loved how Riggs travelled smoothly between moments of contemplation and outbursts of action, particularly because I could never tell in which of those moments I was in. I didn’t know what to expect, and that’s considering I had watched the movie already! I think John Green described perfectly as he called this book a “tense, moving, and wondrously strange first novel” (as per the cover of the book published by Quirk Books in 2011). And I will generously emphasize the word tense. There is no respite in this book. The author doesn’t dwell in moments that are not relevant to the story, and describes actions with poignant efficiency. It was truly like watching a movie sometimes. And none of his contemplative moments felt like a waste of time. Sometimes he would spend a long time describing a room, but I could feel that it was due to the room’s relevance to Jacob, emotionally. There was however, no emotion attached to the colour of his sweater or any character development attached to the flavour of Jacob’s toothpaste, so he didn’t bother with those. Why would he reveal any more than he needed to, when omitting it could be just as powerful?

- This brings me to my next point actually, which is the prose. Riggs’ prose is so good. He managed to synthesize an entire image, capture a whole breath with one sentence. There seemed to be no wasted words, every description so pertinent. He would sometimes build up his wonderfully grotesque imagery in agonizingly slow steps, or add a verb of movement in his description to add life to objects, always with a creepy overtone. (The vines ran down the wall.) Every time I glanced down the page to see if a monster was about to jump out of a bush and my eyes fell onto those movement verbs, I thought things were about to go down, but he tricked me. And so, Riggs kept me exactly where he seemed to want me: at the edge of my seat, constantly preparing for the worse, never quite at ease.

The Word and the Lens 

(I shouldn’t try to give clever titles to my things...)

Now, the only reason why I feel the need to compare these two is because I find it very hard not to compare two things of the same name. You know, if there are two Vanilla ice cream at a shop, I will definitely want to know why they both earned their name, and which one holds the edge. However, when it comes to art and media, I try (with capital letters TRY) not to compare things too much. I feel I owe each of the artists’ behind each piece to look at their work individually and in their own right. 

Nevertheless. I’m only human. We are only human. Who came first the chicken or the egg.

My situation was, should I say, “peculiar”, seeing how I actually watched the movie first and later read the book. This means that I had already been provided imagery for most of what had happened in the book thanks to Tim Burton. And I think this speaks very highly of Ransom Riggs that I actually felt his descriptions were still very enticing despite the fact I already knew how most of it “was supposed to look”. Of course, I should also mention that Tim Burton did a fantastic job in building the Riggs’ world. The Home itself looked fantastic, with its creepily immaculate look, its sharp angles and desaturated colours. The whole costuming was also very on point: effectively odd and beautifully translated.

Another bonus point for Tim Burton was how he translated the characters. In my opinion, the people casted for each role was very on point -- if not in physical description definitely on the characters’ personalities. Enoch was such a fascinating, dark character and Finlay MacMillan played the part creepily well. 

In fact, I’m surprised (and slightly ashamed) to say that I actually preferred Burton’s version of Miss Peregrine than I did in the book (yes, book-avids, burn me on the steak!). Not only was her wisdom incredibly evident, but her training as an ymbryne seemed to include more than just being good at speeches and knowing dates. In the movie, Miss Peregrine is fully capable of using a cross-bow and making conclusions that were honestly remarkable (such as figuring out why Jake had come to see her even before he said it). In the book, Miss Peregrine seems like a wise lady, but that’s about all she is throughout the first book. Her limping seems to make her physically incapable of keeping up with the children (and protecting them for that matter), and for a “wise old lady”, the kids constantly outsmart her, getting themselves into mortal danger at occasions. Not only that, but her dialogue seems... adequate, at best. Nothing she said was so well-versed to the point of warranting the book’s title being “Miss Peregrine’s”. The peculiar children seem considerably more interesting and important to the plot than she is. And in matter os wisdom, I am still waiting for Miss Peregrine to surpass the wisdom in Jake’s very first sentence of the book: “I had just come to accept that my life would be ordinary when extraordinary things began to happen”. Who here was wishing they had come up with that little jewel for their novel? 

In any case, I suppose that having a main character that is more interesting than your title character is not a bad thing. It’s a great thing I should say. But then it all goes back to, Then why is Miss Peregrine the one in your title and not Jacob? It’s almost as if Riggs doesn’t want to let Jake be as important and cool as he actually is. This seems to be a recurring theme in the book actually. I understand that there are characters who doubt themselves, but when the story itself constantly diminishes the character’s potential, it becomes a bit of an uphill battle. Why must Jake not excel at anything? Why keep bringing up how incredible Jake’s grandfather was? And if his grandpa was all that great, why aren’t we reading a story about him then? Why does book-Jake sound petty in moments where his character was visibly understanding the level of danger they were in? Why keep hammering that Jake is simply not good enough? Again, the reason why I bring this up here and not in the section above (where I was only analyzing the book), is because perhaps these are all questions Riggs will answer further on in the series of books. However, because I had movie-Jake as a reference, I came to expect more from book-Jake. I was expecting him to be braver, to take more initiative, to have better plans, and to a certain extent for him to be more useful to the plot. (***spoiler alert - The fact that he can see the monsters seems so absolutely pointless when he can barely muster the courage to tell his friends useful information about it ***). I still feel that Riggs opted for some plot points and deliberately-placed descriptions that undermined Jake’s potential as a character, and even though (as I mentioned for movie-Jake) book-Jake is also not annoying, that is definitely less true than in the movie.

What the movie does get phenomenally wrong and you will have to forgive me for my small freak-out session #1 (***spoiler alert till the end of this paragraph***): WHY, just WHY would you change Emma’s powers???? This makes absolutely NO difference plot-wise and the is no valid reason to diverge so dramatically from the original material! It would be as odd as if Dasher was suddenly the one with the shining nose but Rudolph still became Santa’s favourite because he has nice fur. It’s like, “Okay, you’re allowed to change it I suppose, and there is no major plot point that is ruined by this so far.... But why?????”. Sure I liked the shot of Emma clearing the water from the ship’s secret room, and Jake being there did make it romantic.... But still, to quote Boromir’s meme: “One does not simply change the original material because it looks cool”. Well, I suppose one does, but I don’t feel one should. 

So in virtue of my own strict dislike for spoilers, I should mention the next section delves a little bit into spoiler territory, but only in a superficial matter. That is to say, in terms of the story’s overall arcs (but not touching any specific plot points!), the entire last act of the movie was widely different. It was almost comically different. As I mentioned, having read the book after watching the movie, when I reached the last, say, 100 pages of the book, I could feel my brain going like, “Wait, whaaaat”. The setting of the final confrontation was completely different (both where and when), the people involved were slightly different, and even the outcome was absolutely different. 

Now, it’s true that I haven’t read the second or third books of the series, so it is possible that the movie was in fact referring to events that take place a bit further into the books. As I mentioned in my previous post on Miss Peregrine, awkward endings are pretty common in movies adapted from books (in my humble opinion). I had mentioned The Golden Compass (2007) as an example, and I will add City of Bones (2013) to this list (where -- for the sake of a cool final shot I suppose? -- the protagonist suddenly gains Harry-Potter like powers which she never had in the book, and yes, I am as bitter about it as I sound). So, risking repeating myself (I am not as concise as Riggs unfortunately :/) companies don’t always pre-approve sequels to be made until they’re more or less sure they’ll make good money out of them. That is why we are often left with “first” movies which symbolically stand for more than one book. That is to say, that the director/producers try to tie loose ends and complete character arcs without letting the characters earning those endings. This creates rushed conclusions that are just messy and neat all at once (deal with that paradox!). 

So it is possible that the events we see at the end of the movie do take place later on in the story. But if not... (and now, you will have to forgive me for my small freak-out session #2. Also, spoiler alert for the remained of this post except for the last paragraph!) then what the HELL. Where did this ending even come from???? xD How does a climax taking place inside a decrepit lighthouse in an evening of 1940 becomes a full-on fight in the middle of a 2016 day-time, theme park in London??? Why would you diverge so incredibly from the original material??? Okay. Let’s calm down a bit... I will shamefully admit that I quite liked the final showdown in the movie, and even more shamefully... I would say I almost liked it better than the climax in the book. However, I feel that’s because the movie had been building up quite steadily towards an awesome showdown. I mean, for monsters who literally eat up little children’s eyes, there is no way that the finale could be an old man shooting with a handgun at children crouching in the sea. That would have not lived up to our expectations at all. However, that is where the whole building up comes into play. If Riggs’ first book ended up with an eye-candy massacre in a theme park, how would his second and third books possibly top that? In other words, the movie spoiled us with cheap fun, potentially jeopardizing the pacing and events of future movies. ....And yet, seeing how I am human... I fell right for it and had a blast watching that showdown. 

(Still spoiler) What follows the showdown in the movie however, perfectly exemplifies the “messy endings” I mentioned earlier. Seeing how the movie barely got the time to explain loops and how they work, the fact that Jake was loop-jumping (aka leapfrogging) by the end was very confusing in my opinion. I love my fair share of time-travelling movies and I particularly love getting into paradox conversations, but that wasn’t even the problem in this instance. There was simply not enough information given to us about loop-jumping for his whole time travel to make sense. How do loops work in this movie-universe? Is it the same as in the book? Is it like a time-machine then? Or a fixed inter-dimensional entrance to a single particular day in the past? If they are loops, can the peculiars leave the loops at any year they wish to leave at? Or can they only leave at, say, Jake’s present year? Why do the kids still act as children if time has actually passed in loops? How can the children get into a loop that opens up to 2016 if that loop wasn’t created until 2016 and they’re in 1940? And finally, if Jake goes back to 2016 and his grandfather is still alive, would that prevent Grandpa from dying? In which case, wouldn’t that mean that Jake would never be motivated to go meet the Peculiar children so wouldn’t live through the events that eventually made him do everything he did in 1940 which would then mean he couldn’t be in 2016--and NOW we have a paradox! xD In the book, the rules about loops are pretty clear, and though leapfrogging is a concept that is teased at by the end of the first book, we know we don’t need to fully grasp it yet, for Riggs will tell us more about it in later books. 

(Still spoiler) What drives crazy is that the movie had no need to mention loop-jumping! They had a perfectly reasonable ending where Jake had the choice of staying in 2016  and changing his grandpa’s death, or staying in 1940, in which case Grandpa would die, but at least the past would stay as it was and Jake could stay with Emma and things would still make sense. Instead, the movie wants to have both endings, and the plot becomes convoluted for no reason.

In conclusion, both versions have definite ups and downs, and I could never choose one over the other. I am partial to the movie’s characters of Miss Peregrine and Jacob, but I will never downplay the pleasure of reading really good prose. Both versions have pretty fantastic storytelling skills which eventually had a let-me-down moment -- the movie was way more aggravating in this aspect. However, I do feel that both versions have enough good things that I would happily recommend any of them to people into the creepy and the weird. Overall, I am very happy I got to experience such an interesting world not once but twice!