(no subject)
Jul. 17th, 2010 01:08 amRe-Watched A Human Reaction and Terra Firma tonight, also watched Friday Night Lights - I'm about four-five episodes behind. Wonderful show, FNL. It's well written, well performed, and well produced. Close to flawless this season so far. And it oddly makes me happy, with its warm themes. Methinks, I've grown tired of bleak?
Read in EW that they are doing a motion version of the Buffy comics, premiering July 19th? Okay.
Wish the comics were deserving of that, or better. Might check it out - out of curiousity, but doubtful. Have come to the conclusion that tv shows and movies do not translate well into comic books. Odd, considering I tend to like film adaptations of comics or graphic novels. Hmmm.
I think the difference is - that when you take film and translate it to a flat format, you are doing the equivalent of chopping it in half. The adaption loses something in the translation.
OR, maybe I just don't like the collaborative team on the Buffy comics? This actually would make more sense - I'm admittedly not a fan of Jeff Loeb, Brad Meltzer, Georges Jeanty, and Scott Allie. (actually that is a polite understatement). If you think of entertainment collaborations as being similar to creating soups or sauces or stews, and how some spices work together and other spices when you put them together then swallow them, you sort of want to vomit or get cramps, it makes sense. This was certainly true of the Star Wars series and Star Trek. Star Wars prequels convinced me that it wasn't George Lucas that made the first three films entertaining but the whole collaborative team - including the actors. The prequels had a completely different team. Lucas the only hold-over. In other words, you can't predict that you'll love whatever Joss Whedon or James Marsters or Anthony Stewart Head or Ben Browder or Claudia Black or David Kemper create - because each time they create something they are working with different people. (You are bound to be disappointed.) Any more than you are always going to like Chili - depends on the recipe and whose making it.
Farscape has reminded me that I'm a sucker for a well-balanced, well-told love story. There are too few of them - and no, Twilight isn't a love story to me. I'm picky, I know. The John Crichton/Aeryn Sun story is a well-told love story with layers.
A Dark Matter by Peter Straub is weirdly written. The number errors in basic gramatical structure that I've picked up on are astonishing. For example: The writer keeps changing tense and pov in the middle of paragraphs and he does it inconsistently (as in every 50 pages or so). At first I thought it was just a typo, but its happened several times and there's no logic to it. Each time it happens I'm thrust out of the story, because I have to change the word in my head for it to make sense. Example - the majority of the story he tells in the first person singular, "I" this, and "we" that", then all of a sudden, without warning in the middle of a paragraph about fifty pages in, he switches to third person -"they" or "he" - just for one word. Then goes right back to the first person singular. Has done it about four-five times now. Instead of writing "we" - he writes "they" referring to the narrator and whomever he is with, then next paragraph and for the next several pages or more it's all first person singular. So - without warning, we, the reader, are flung out of the narrator or protagonist's perspective and in some omnipresent one, then flung back again. I did a double take each time it occurred. Re-read the paragraph and thought, uhm okay, what happened - did the editor go take a nap? Except it happens a lot. I'm not sure what he thinks he is accomplishing by doing it. Being clever? Not working. Okay, will take a step back and state - that it is possible to break grammatical rules, structural and otherwise while writing and get away with it - but it is hard to do well and most writers don't have the skill to pull it off. You have to prove you can follow the rules, before you break them and when you do break them - you have to show there's a reason for it. I'm not seeing a logical reason for the breakage here. It adds nothing to the story.
Tired from work. Going to be. Soon.
Read in EW that they are doing a motion version of the Buffy comics, premiering July 19th? Okay.
Wish the comics were deserving of that, or better. Might check it out - out of curiousity, but doubtful. Have come to the conclusion that tv shows and movies do not translate well into comic books. Odd, considering I tend to like film adaptations of comics or graphic novels. Hmmm.
I think the difference is - that when you take film and translate it to a flat format, you are doing the equivalent of chopping it in half. The adaption loses something in the translation.
OR, maybe I just don't like the collaborative team on the Buffy comics? This actually would make more sense - I'm admittedly not a fan of Jeff Loeb, Brad Meltzer, Georges Jeanty, and Scott Allie. (actually that is a polite understatement). If you think of entertainment collaborations as being similar to creating soups or sauces or stews, and how some spices work together and other spices when you put them together then swallow them, you sort of want to vomit or get cramps, it makes sense. This was certainly true of the Star Wars series and Star Trek. Star Wars prequels convinced me that it wasn't George Lucas that made the first three films entertaining but the whole collaborative team - including the actors. The prequels had a completely different team. Lucas the only hold-over. In other words, you can't predict that you'll love whatever Joss Whedon or James Marsters or Anthony Stewart Head or Ben Browder or Claudia Black or David Kemper create - because each time they create something they are working with different people. (You are bound to be disappointed.) Any more than you are always going to like Chili - depends on the recipe and whose making it.
Farscape has reminded me that I'm a sucker for a well-balanced, well-told love story. There are too few of them - and no, Twilight isn't a love story to me. I'm picky, I know. The John Crichton/Aeryn Sun story is a well-told love story with layers.
A Dark Matter by Peter Straub is weirdly written. The number errors in basic gramatical structure that I've picked up on are astonishing. For example: The writer keeps changing tense and pov in the middle of paragraphs and he does it inconsistently (as in every 50 pages or so). At first I thought it was just a typo, but its happened several times and there's no logic to it. Each time it happens I'm thrust out of the story, because I have to change the word in my head for it to make sense. Example - the majority of the story he tells in the first person singular, "I" this, and "we" that", then all of a sudden, without warning in the middle of a paragraph about fifty pages in, he switches to third person -"they" or "he" - just for one word. Then goes right back to the first person singular. Has done it about four-five times now. Instead of writing "we" - he writes "they" referring to the narrator and whomever he is with, then next paragraph and for the next several pages or more it's all first person singular. So - without warning, we, the reader, are flung out of the narrator or protagonist's perspective and in some omnipresent one, then flung back again. I did a double take each time it occurred. Re-read the paragraph and thought, uhm okay, what happened - did the editor go take a nap? Except it happens a lot. I'm not sure what he thinks he is accomplishing by doing it. Being clever? Not working. Okay, will take a step back and state - that it is possible to break grammatical rules, structural and otherwise while writing and get away with it - but it is hard to do well and most writers don't have the skill to pull it off. You have to prove you can follow the rules, before you break them and when you do break them - you have to show there's a reason for it. I'm not seeing a logical reason for the breakage here. It adds nothing to the story.
Tired from work. Going to be. Soon.