i can’t get over how everyone in fma just accepted that alphonse was a ten year old boy in a big ol suit of armour. he would actually have to be huge to even fit inside and control the armour with any dexterity so i guess when he told people “oh yeah i’m a child that’s why my voice sounds like i just came out the womb” they had no alternative but to accept that there was an extremely jacked six-foot ten year old in there, just chillin
In my humble opinion, Coraline is one of the best movie adaptations out there because it actually strays away from the book a lot and adds/changes several different things, but it does so all for the sake of a visual medium which is exactly what a movie adaptation should do!
There’s nothing showing the Beldam making the doll but darn it if that’s not the most aesthetically pleasing scene in stop motion animation:
The appearance of the tunnel is never described (other than it being musty and her feeling a force behind her) so they made a psychedelic tube:
In the book, she meets the three ghost children at a generic picnic but the movie, for reasons I will always love, decided to show them against an animated, interconnecting, version of the Starry Night:
The blue hair, the garden, the world falling apart—
Everything is tweaked to be more visually pleasing.
Which is the point of turning a book into a movie in the first place!
When Zuko apologized to uncle Iroh in the tent cause he was so
ashamed of his actions and what he’d done to the only person who
unconditionally believed in his ability to do good >>>>>
So okay, I’ve given this rant before but this is another good time for it.
Structurally speaking, ATLA did something important with Zuko that, in a purely mechanistic sense of narrative development, I think a lot of people don’t notice immediately, and that even fewer people who want to emulate what was done with him get.
Which is Zuko is made a protagonist VERY early, and the show goes out of its way to continually place Zuko into situations where the audience empathizes and roots for him.
This happens in literally the second episode of the series, if we count the two-part premiere as a single episode, which I think we should. The A-plot of that episode, “The Southern Air Temple,” is Aang reckoning with the genocide of his people… but the B-plot?
The B-plot is the introduction of Zhao, and more specifically, his introduction in a way that is calculate to shift the audience, whose introduction to Zuko did NOT engender a ton of sympathy to him, directly and forcefully onto his side. They want Zuko to kick Zhao’s ass.
This continues all through book one and book two. Remember, Zuko is never, ever the main villain of this series. That’s initially Zhao, followed by Azula and Ozai. (Plus various temporary players like Long Feng.) Whenever Zuko isn’t placed into direct conflict with the other protagonists, he’s always written and presented in a way that is careful, VERY VERY careful, not to make him too monstrous, and to make us root for him. He’s placed right next to Iroh, who is designed for people to like, and that reflects back onto Zuko; we want Zuko to be better than he is because we want Iroh to have good things.
Put aside for the moment whether any specific character, including Zuko, deserves their redemption. If you’ve decided you’re going to do that, you have to erect the proper narrative scaffolding around them, and it extends to far more things than “did this person not do things that were too horrible” and “is this person genuinely sorry and is working really hard to atone.” There’s a difference between protagonist and white hat, but if you want someone to eventually wear that white hat, you REALLY need to establish them as a plausible protagonist early on.
The thing abouth all these Disney remakes is that most of them, it feels like if someone once said, “I’m going to make a live action remake of Edvard Munch’s “The Scream” and then he just took a photo of some random bald guy screaming on a bridge. I mean all the elements are there but he changes all the expressionist elements in favor of “realism” loosing most of the things that made the scream one of the most important, if not the most important pieces of the Norwegian expressionism, maybe just keeping the general comossition and maybe making some little changes, just enough to make it feel kind of different, but not enough to be relevant. Change the long sleeves for shorter ones, or maybe even add a new character in the back who will be there, but, at the end of the won’t be really important. But loosing the colors, the shapes, the brush strokes, the style.
IT’s just a bland looking photo of a guy screaming, that is only really relevant mostly because of the audience being already familiar with the original artwork.
I am Silver Tongue, I am an artist. I have many characters and you can check out my art in the art tag. I occasionally practice witchcraft though I don't do anything too complicated. I am girl 2 and don't know what else to put here.
