In the closing week of Understanding Comics and Manga, the class focused on the transformations comics and manga undergo when adapted into film or anime. In both the case of film and anime adaption, much must be cut or reworked to fit the new parameters of the new medium. While comics are under stricter constraints due to limited numbers of panels, film adaptions can use different camera angels, sound effects and a variety of other cinematic techniques to do the work the reader of the comic would be doing. In the case of anime, manga tends to be stretched and filled out to meet the time requirements of televised programming. An anime series can easily catch up to its original manga in a matter of one or two seasons.
Since film adaptions are arguably more popular in our part of the world, I’ll start with them. In a graphic novel or comic book, writers are very much constrained by space. In a comic, each panel must be effectively used to advance the plot. A few panels in a comic can potentially be adapted into a whole scene in a film, as demonstrated by Will Eisner in his visualization of comic narrative and film emulation. These scenes effectively complete closure for the audience. Films require far less imagination as most of one’s imagining is done for them. To me, this is what makes film adaption a less attractive venture. Instead of being actively engaged with the material, the audience loses that larger element of participation, instead becoming relatively passive observers. This ultimately why I think fans of the original material end up unfulfilled when they see their favourite films adapted to the big screen. Even when the source material is respected by the film makers, their interpretation of what happens in between panels can greatly differ from that of a fans.
In my experience with film adaptions, I have found that most adaptions leave me disappointed. After seeing Scott Pilgrim vs. The World, I was thoroughly disenchanted. The film makers evidently tried their best given the limitations, but they butchered six volumes of content to fit into the span of a hundred and twelve minutes. Much of the subplots were cut in an effort to shoehorn the main plot into the movie. Another problem was the removal of characters’ back stories. I’ve found that cutting back on subplots and important information in regards to the characters is what for the most part soils film adaptions and keeps them at a distance from their source material.
Despite this, I think film adaptions of comics have a place in the pop culture sphere. Just
because I didn’t enjoy this adaption of Scott Pilgrim for source reasons, doesn’t mean it wasn’t a “good” movie. Many movies like Scott Pilgrim Vs. The World, Guardians of the Galaxy, and The Amazing Spider Man, are not one hundred percent true to their original material. After all, they are adaptions. They are widely accessible and enjoyable to those of us who haven’t invested a great deal of time into the original media.
In the case of manga to anime adaptions, the transition almost feels natural. Anime is typically produced in the same art style as its manga, which makes the shift significantly less jarring. For example, if one were to read then watch Dragon Ball Z, Goku’s appearance remains mostly the same, except for colour. In contrast, when a Hollywood actor is cast in a film adaption of a comic, it can be difficult to disassociate them from his/her real life persona.
Another thing to think about is that manga and their anime adaptions are integral parts of Japanese popular culture. Manga has enjoyed widespread popularity for decades, which contributes to the popularity of anime adaptions. In this sense, anime can be seen as a supplementary product of manga. Again, this contrasts with film adaption of comics, as North American films tend to be produced as standalone products. Additionally, anime can overtake manga in terms of production. An example of this would be Hunter X Hunter, a manga who’s anime was ended due to running too close to the manga. As noted in class, the growing popularity of anime in the West has also altered the production of anime. Anime is now produced to meet market expectations of both Japan and North American markets. This can be seen in the popularity of Attack on Titan.
To conclude, film and anime adaptions are both important parts of comics and manga culture. In North America, film adaptions are designed to appeal to a broad audience. Ultimately, this alienates fans of the source material, as cuts must be made to optimize the material for the big screen. Even though much is changed or lost, most of these films end up being enjoyable action films. In the case of anime, source material is more easily respected, as the transition between manga and anime is easier made. This is facilitated by acceptance of manga and anime in Japanese popular culture, as well as less striking graphical changes. All in all, comics and manga will always have a following of loyal fans. Adaptions are a form in which the material is made more accessible.
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