Saturday, March 28, 2020

We Need More Information


The story behind CIA: Collect it All is a fascinating one. Last year several games designed by the CIA for use as training simulations were declassified by the U. S. government. Since they were designed by a government employee in the course of his work they are automatically in the public domain in the U. S., so an enterprising game publisher got to work designing a commercial version which was funded using Kickstarter and delivered to backers in December of 2018.

The game uses cards to represent intelligence collection techniques such as media analysis, satellite imaging, and data hacking. Players use those cards to solve global crises like foreign missile testing or election interference, by matching the correct types of intelligence to the crises they will be effective against. Opponents can interfere by playing "reality check" cards which represent the idea that nothing ever goes as planned.

As a training tool, an important part of the game was the inclusion of "manager challenge" cards, which forced the CIA trainees to justify the plays they made, explaining how, for example, "document and media exploitation" would be effective against "European crime and corruption" in the real world. These are included in the game as an optional variant, but the rules suggest only using them if all the players have a "firm understanding of intelligence techniques."

In theory the idea of this game is very compelling, but without the manager challenge cards, it's really just a symbol matching game, with each player trying to match the symbols on their collection cards to the ones on the crisis cards. It might have worked a lot better if there were more background information on the cards, to give players more information they could use to at least bluff their way through a manager challenge. I think the designers really missed an opportunity to create a game that would be informational and intellectually stimulating as well as entertaining.

Rating: 2 (out of 5) not a terrible game but a huge missed opportunity.

Recently Finished Minis

   I haven't done a lot of painting this past month, because of other projects (more on that later), but I did finish a few things a week or so back that I haven't shared, so... here they are, I suppose.


WIP Shot of a piece of jungle terrain. Also the Velociraptors

And the finished piece. I quite like the weathered detailing that was sculpted on it.
This piece is from Fenris Games, along with some of the other bits of stonework in this post.

Terrain for Frostgrave
 The statue is a Bones mini of Ezren, the Iconic Wizard from Pathfinder.
The plinth is from Fenris Games.
Just painted in my usual stone method and added some Valhallan Blizzard.
(That stuff is the bomb. I need more pots to save for when GW inevitably discontinues it).

Reaper Bones Velociraptor and Spike Shells; Fenris Games Runestone

Closeup of the Spike shells, really ought to take better photos.

Another runestone from Fenris, and the ancient Toad from Talisman. 
I've had this mini for probably 20 years, maybe longer. Finally just did it.

   I have some big pieces that I finished this week that I will take proper photos of and post later this week. Maybe. You'll know why I have been so distracted soon, I promise.

Something Oddish In Cerulean

Local Cerulean trainers were hosting a tournament of sorts on Nugget Bridge, but by the time I got there the tournament was over. In fact, the tournament was exposed as a recruiting ring for Team Rocket and was overturned by a trainer quite a few years younger than me. Although Team Rocket was gone, the trainers were still there accepting challenges and I took them on one by one without hesitation or incident. After trouncing Wolf and the Nugget Bridge trainers, I was feeling pretty proud of my team and confident in our ability to succeed.
Beyond Nugget Bridge which spans Route 24 was a short hike along Route 25 to the Cerulean Cape. Bill lived out there in a small cottage and welcomed trainers to come visit and discuss all things Pokémon with him. Just west of Nugget Bridge, I caught a second Pidgey whom I named Charlie. He was a bit stronger than Kiwi when we first met, but now that Kiwi had evolved into Pidgeotto, Kiwi was a star member of my team.
League rules dictate that trainers can only carry six Pokémon at a time in Kanto, so Charlie would soon be stored away waiting for his day to train and battle alongside his teammates. The sixth member of the team was about to be Arnold, a small Oddish I caught on Route 25. This tiny little sprout was unexpectedly strong. He single-handedly toppled an Onix in his very first trainer battle on our way to meet Bill. I knew in that moment that he would be a great asset when I went to challenge the Cerulean Gym, which was known for its fierce water-type Pokémon.

When I first met Bill, he was recovering from some rare illness. He assured me it was not contagious, but he was still not feeling quite himself. I could tell he didn't really want to talk about it, so instead I steered the conversation to our absolute favorite topic: Pokémon. Bill is a self-proclaimed PokéManiac and no one has ever really challenged it. His obsession with Pokémon has very few rivals.
Bill is credited with inventing and operating the Pokémon Storage System that was available in Kanto at the time, and that system's descendants are still in use today. At that very moment, Charlie was sitting in a subsection of the Pokémon Storage System that was allotted to me for my own personal Pokémon needs. Much like the Pokédex, this would prove to be an invaluable tool to help me kick start the Pokémon Sanctuary that I run today. It's because of people like Professor Oak and Bill that Kanto was such a tremendous hot spot for aspiring Pokémon trainers back then and is still somewhat of a legendary region to this day.
Bill was delighted at my idea for a Pokémon Sanctuary. He was also interested in my resolve to not let any Pokémon faint in battle. He was shocked I was able to let go of Rascal (Sr.) and Nibbles. I assured him then and I assure you now, it was not easy. It truly broke my heart, but it was an important part of my growth as a trainer. Bill offered to help in any way he could with my project. He also offered to look after or find aspiring new trainers to take care of any future Pokémon I was forced to release by my own personal code. His love for all things Pokémon was abundantly clear.
Bill was eager to show me his favorite Pokémon, one I had never heard of before meeting Bill. He had numerous files on his computer system about the Pokémon Eevee, and Bill had been doing research into its wide variety of evolutions. Bill was a leading expert on the Kanto Evolution Stones which included Moon Stones first found on Mount Moon, as well as Fire, Water, Thunder and Leaf Stones. More would be discovered in time, but these were among the first known to transform certain Pokémon when exposed to their faint light. Bill showed me some pictures and sketches of Flareon, Vaporeon and Jolteon.
Bill and I spent several hours passing the time in conversation, but eventually it was time to head back to Cerulean City to rest up before my gym challenge. I was really happy I had taken the time on my trip to meet Bill and shake his hand. As I said, I couldn't have gotten where I am today without Bill and his amazing work on the Pokémon Storage System.

The day after I met Bill, I challenged Misty at the Cerulean City Pokémon Gym. Unlike my devastating loss to one of Brock's junior trainers, my new friend Arnold made short work of the two trainers in Misty's gym. They simply couldn't hurt him more than his own absorption could repair. All the Pokémon of the Cerulean City Gym were powerless against Arnold's ability to drain their energy and bolster his own.
I was worried about facing Misty. I had been warned that her Starmie was one of the most powerful Pokémon in the region, so I came prepared. After defeating Misty's Staryu efficiently with Arnold, I put her Starmie to sleep with a soothing powder that spreads from Arnold's leaves. Though, Starmie's powerful psychic attacks had the potential to cripple or even knock out Arnold instantly, it simply slept peacefully while Arnold nuzzled up to it and sapped its energy. Misty was soundly defeated and Arnold was the super star of the Cerulean Gym challenge.
It wasn't the most exciting series of battles in Kanto, but sometimes strategy and planning is more important than a fast paced battle of strength and determination. I was lucky to have found such a great Pokémon like Arnold just a day or two before challenging a tough gym leader like Misty.

Current Team:
Attacks in Blue are recently learned.


Bill's Storage: Charlie (Pidgey)

Monday, March 23, 2020

Downlod Prince Of Percea The Sand Of Time Free














यहाँ सारे  गेम फ्री में मिलते है पासवर्ड भी आसान है


MINUMUM REQIRMENTS FOR THIS ram 2gb harddisk 1tbprocesorr intel pentuniuwindow7.8.10.xp(plese downlod winrar software to downlod this game)(plese downlod direct x setup for working this this game)(plese also dosable antvirus for working this game)

Prince of Persia: The Sands of Time is a third-person action-adventure puzzle-platform video game developed and published by Ubisoft. Revealed in March 2003, it was released across Game Boy AdvancePlayStation 2GameCubeXbox and Microsoft Windows in November 2003. The Sands of Time is a reboot of the Prince of Persia series, created by Jordan Mechner. Mechner served as creative consultant, designer, and scenario writer for The Sands of Time.
The game follows an unnamed Prince whose father sacks a Maharaja's city at the instigation of its treacherous Vizier. During the attack, the Prince obtains an artifact called the Dagger of Time, while his army captures an hourglass containing the Sands of Time. Visiting Azad to present the Sands as a gift to the city's ruler, the Vizier tricks the Prince into releasing the Sands, transforming the city's population into savage monsters. Together with the Maharaja's daughter Farah, the Prince works to correct his mistake and return the Sands to the hourglass. The gameplay revolves around the Prince's platforming abilities, broken up by fights with the creatures created by the Sands. A key mechanic in the game is using the Dagger to rewind time if the Prince makes a mistake platforming, and using it to kill and freeze enemies.
Concept work began in spring of 2001, after Ubisoft acquired the Prince of Persia catalog. After Mechner was brought on board, production began in June of that year. After the initial story draft was scrapped as it was too complex, the team began with four guiding concepts, including the ability to rewind time: this idea grew into the Dagger, the Sands, and the various powers related to them. Mechner's script drew inspiration from the Shahnameh, with the main focus on creating a simple narrative that worked with the pace of gameplay. The game used Ubisoft's Jade engine, originally designed for beyond evi Good & Evil, another game published by the company. Production was troubled, with the team facing problems with the engine structure and delays with environment assets, while also managing to create an effective tester network to seek out the game's bugs. In 2004, a version for mobile phones was developed and published in North America by Gameloft.
Upon release, it received critical acclaim, won and was nominated for numerous awards, and has been recognized by many as one of the greatest games of all time. Sales of the title were initially slow, but it eventually became a commercial success. Its success prompted the development of a sequel, Prince of Persia: Warrior Within, which was released in November 2004. Further games set in the Sands of Time continuity have been developed, and it is generally cited as the reason for the Prince of Persia series' return to fame.
DOWNLOD FROM HERE
NO ANY PART AVLABLE DIRECT SETUP DOWNLOADplese also downlod win rar softawre and direc x


how to fix problem in this game
  1. no stsrting game besuse you could not download direct x 9.0
  2. you cond not downlod winrar sofawre
  3. you have not downlod in internet downlod manager
  4. you have low processor
  5. you have low ram 
  6. you have not odisable antivirus
 media fire
downlod from here thanq























Friday, March 20, 2020

GaryCon XII Prep - Moathouse Complete! Heist Complete! Seeking Playtesters!

The Moathouse for my "Rescue of Hommlet" game is complete!

First... picture time!

     

I am ECSTATIC at how it came out! I can't wait to get this on the table at GaryCon and see people play on it.

I am going to do a post after GaryCon of how I built it and lessons learned.

There is one more playtest for the rules. Members of NIFMA (Northern Illinois Fantasy Miniatures Association) are coming to play - there's room if you're in my local area!

Here's a link to the rules if you'd like to check them out. These are more delta's to OD&D/Chainmail than a coherent set that merges the two; guidelines and approaches for how we'll run the game. I've also created "character sheets" for the dramatis personae, here's a link if you'd like to see what I did.

With the moathouse and scatter terrain to represent the bog surrounding it completed, it was time to move to my AD&D game at GaryCon - "The Heist of the Century!"

It's an easy enough job: Get into the Royal Palace, steal the King's Secretary's Seal and return with it, for a reward worth ten years' wages. But nothing is ever simple, is it? Especially when you interrupt something far, far worse, and the opportunities may be far, far bigger. Come experience the world of Etinerra, a campaign ten years going!

The adventure is written, but if you're willing, would you please help me playtest it?

 

I'm looking to do online playtest sessions last week of February/first week of March. Ideally in the evening US Central time. If you're interested, especially if you're not coming to GaryCon, please reach out: chgowiz@gmail.com. Thank you!!

So why am I playtesting this particular adventure? It is like no other adventure I've written or run before!

Dungeon crawls? No problem, I've been writing/running those for years! Outdoor adventures? I'm your guy! In-town, social adventures? Uhhh.... (needle on the record scratching sound)

When I came up with the idea, I was picturing "Ocean's Eleven" or "The Italian Job" in AD&D. Sounds great, right? Then I sat down to write the damn thing and realized I had zero, zilch, nada experience at such an adventure! How should it be paced? How should I provide clues? How do I get the players to plan and execute a heist? So. many. questions!!!

So, I set out to do what I usually do - get inspiration (aka. steal) from good sources. I poked around on social media and got some great tips and pointers to modules, articles and what-not. And boy, inspiration was to be had!

I don't want to give too many spoilers away, but I focused on a couple of primary resources to help me and over the course of four days, roughly about 16 hours total, I banged this thing out.  Once I get past GaryCon, I intend on reviewing those primary resources and sharing how I came up with this adventure.

I'm excited! This adventure and the GaryCon session has HUGE POTENTIAL for affecting my campaign world! Obviously the blurb hints at that, but we'll see how it goes. I always have my one-shots affect my campaign world - it's been so much fun to see how the players react to a dynamic world.

Of course, after all is said and done, with trying to run a game style I've never run before, I may be tearing what little hair I have left out and cursing myself "what was I even thinking?!?" We'll see...

Thursday, March 19, 2020

Podcast Episode 30 - Finishing Up Demystifying AD&D Combat


In this episode, I wrap up my attempt to demystify AD&D combat with a correction, some odds-ends and Weapons vs. AC!

Anchor Episode link: https://anchor.fm/the-dungeon-masters-handb/episodes/Podcast-Episode-30---Finishing-Up-Simplifying-ADD-Combat-eb80m2

What do you think?! 

Leave me a voice message and let me know what you think or ask questions if you have them! (312) 625-8281‬ (US/Canada) You can also leave a message on Anchor: anchor.fm/the-dungeon-masters-handbook/message 

Find episode posts and other D&D content on my blog: chgowiz-games.blogspot.com 

Credits

Intro music: Dragonaut by Bradley The Buyer (bit.ly/2ASpAlF)
Outro music: Dream by Wild Shores (bit.ly/2jbJehK)
Stinger music by TJ Drennon - Check out his Patreon page at https://www.patreon.com/TJD/
Stinger music by Nightingale - https://www.looperman.com/users/profile/207475
All music used with permission.

LTUE Playing Evil Characters Panel



Probably every person who plays role-playing games (RPGs) at some point considers playing an evil character. The reasoning is likely because they want to play a character that has no limitations on the type of actions they can take. Before playing an anti-hero or villain in a game there are a number of considerations.

At the Life, The Universe and Everything Symposium (LTUE Website), I was on a panel covering some areas character players and game masters should consider before playing or having an evil character as part of their adventuring party.

The concept of having an alignment in terms of good versus evil is only in a few select, but well-known RPGs. Games without an assigned alignment to help guide a player still have the concept of evil being present. For the purpose of this discussion alignment was limited within the context of assigned limitations.

For all games, character action is a representation of a character's code of conduct or alignment more than the words written on the character sheet. I bring this up because I have seen players, through their character, perform amazingly evil acts and then claim they are not evil by pointing at their sheet. How to handle that is another, completely different discussion, but there might be some ideas you can take away from our panel discussion.

Motivations for Playing Evil Characters

Some players never consider playing an evil character, while others will push for the opportunity. Don't consider this to be anything bad about the player. RPGs are about exploring differences and that is one of the reasons players want to play evil, they can't be that way in real life. It is similar to playing a character of a different race, sex, physicality, skills, etc.

Sometimes players want to create chaos more than they want to be evil. In many cultures the chaotic individual is seen as being evil. In fantasy settings this is a major point of the Elric stories.

As a game master (GM) you have the right to put limitations on your game. If you don't want evil characters, don't allow them. I know GMs who have been running different campaigns for more than 20 years who don't allow evil characters. They've even pushed back on character actions and reminded the players that they are the heroes.

Character Motivations

Evil characters are harder to play than most people think they are. One of the first things to remember is a concept that is used in writing stories—the villain is the hero of their own story. This means they have motivations and characteristics like every hero. Their reasoning may be flawed, but they still see themselves as achieving something of greater good, not as the evil megalomaniac wanting to control the world just for the sake of power.

Characters can have the same motivation but see the path to accomplishing the goal differently. This is a prime difference between what is considered good and what is considered evil. Peace may be had by negotiating treaties or by killing all of one's adversaries. In many stories the evil lord is only trying to bring order and peace to their realm.

When wanting to play an evil character, you need to understand why they are evil, not just that they are evil. This will help define their motivations and how they will react. In reading novels, you will see where the evil characters are willing to let small victories go as they pursue their mission.


Pitfalls

Know what can be in store for you. I had two players who wanted to bring evil characters into an existing campaign. They thought it would be fun to disrupt the party from the inside. I tried to convince them it wasn't a good idea. They remained persistent after the warnings, so I allowed it. Their characters arrived outside the fort the party was helping to defend. They were allowed into the courtyard under strict guard and after a detection spell was cast were promptly slain. In games where evil can be identified, especially in settings where there is a strong storyline of two opposing sides, other players may be very willing to attack the evil characters before there is a chance for them to turn on the party.

Evil characters cannot act uncontrolled. I like to give a warning to players first looking at playing evil that they are not free to go through and kill everyone because they are simply evil. There should be consequences. If evil leaders killed on a whim followers or commoners that displeased them, they would soon be alone. If this was the common aspect of evil characters, every adventure in a tabletop of electronic RPG would be fighting only the final battle because the main boss would have already killed their minions. They have a plan and have enough underlings to sacrifice in the time of need. Player characters should have the same basic ideal of their fellow party members—the party is there to protect and keep them alive until they are no longer needed or become a hindrance.

Evil characters who are rash usually don't survive for long.

Final Thoughts

Playing evil can be enjoyable when done correctly.

Everyone on the panel had stories of games they had run or played in where an evil character provided a great storyline. One of the better ones was provided by Quiana Chase when she was running the DnD 5e Ravenloft adventure. It was a great example of how a single character willingly slipped deeper into an evil persona to achieve a greater goal they felt was for the better.

I have had the experience of playing a character who eventually became an assassin. During the campaign his best friend and comrade in battle was a paladin. They both embraced the aspects of being lawful and enforcing the laws and agreements made amongst the party and with others. Their tactics of enforcing the rules is where they differed.

If you have a desire to play an evil character, make sure your GM is willing to work with you. It is very important to keep a strong line of communication with them to make sure the character fits into the story you're building. Depending on the players, you may want them to know or not. Work that out with the GM also. I've always found that when you are keeping your motivations hidden from other players you should make sure you don't start doing something that others haven't seen. Gamers are quick to see a change and will cue on it, even if they don't intend to. For consideration, start passing notes to the GM early on and continue to do it. Don't pass the first note when you have defeated the enemy and you're preparing to divide the spoils.


Dancing in the Dark: How to Get the Most Out of Playing Evil Characters (from the program)

Evil characters can be fun and challenging to play but can cause both campaign and interparty issues. Are there solutions to these problems, or are they inherent in the type of play?

Other Panelists

Natalie Whipple

The author of fifteen novels, a pro gaming fan, a dungeon master, and perhaps the largest consumer of diet Mountain Dew Code Red on the planet. She graduated from BYU in English language with a minor in editing and is currently spending all her spare time being too extra for her D&D campaigns.

Quiana Chase

She creates simulations. She has helped produce large-scale simulations put on by Heroic Youth, Simulations Week, and others. Her jobs include working at the Lion's Gate space center, as an elementary school educator, and heading the Que Branch, which exclusively publishes work written by teens. Oh, and she writes novels. She also has a YA science fiction novel in the process of publication.

Jess Lindsay

She loves writing, theater, and making costumes. She takes turns running D&D campaigns with her regular group and takes her husband everywhere.

Ravvyn

They have been a nerdy creator all their life. They're something of a real life bard; they do a little bit of everything. They're a writer and game designer; they designed FUNdemental RPG, which is a d20-based TTRPG system. They stream regularly on Twitch with both TTRPG-based and variety streams. Additionally, they are a professional photographer and has done their fair share of cosplayand prop building as well. Their passion is bringing people together through art and games. patreon.com/TheRavynEvermore.

I'm working at keeping my material free of subscription charges by supplementing costs by being an Amazon Associate and having advertising appear. I earn a fee when people make purchases of qualified products from Amazon when they enter the site from a link on Guild Master Gaming and when people click on an ad. If you do either, thank you.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

I have articles being published by others and you can find most of them on Guild Master Gaming on Facebookand Twitter(@GuildMstrGmng).


Against Book Purism


DISCLAIMER:
Copyrighted material that may appear on this blog is for the usage of further commentary, criticism, or teaching within the standards of "fair use" in Section 107 of the Copyright Act. All video, music, text, or images shown, all belong to their respective creators or companies. I own nothing so…PLEASE DON'T SUE ME!!! (If you own any of the copyrighted material on this blog and oppose its presence, please be civil and contact me at sansuarobi@hotmail.com or sansuthecat@yahoo.com, the content will be removed ASAP).




Picture by Andy Mabbett







I have recently started watching the original anime adaptation of the manga Fullmetal Alchemist. I am enjoying it a great deal, but when sharing my enthusiasm with certain people, they are always sure to point out that it is inferior to the source material. In fact, I have been dissuaded from the anime on the basis that I should read the manga instead, or at least, that I should read it first. I even knew someone who wouldn't watch the anime of Neon Genesis Evangelion for similar reasons.


I recall similar cries of foul-up leveled against the Harry Potter films for not including Peeves the Poltergeist or Arthur Weasley's flamboyant entrance through the Dursley's chimney. Even writer Stephen King famously despises Stanley Kubrick's film of his novel The Shining because it's, "Cold. I'm not a cold guy. I think one of the things people relate to in my books is this warmth, there's a reaching out and saying to the reader, 'I want you to be a part of this.' With Kubrick's The Shining I felt that it was very cold, very 'We're looking at these people, but they're like ants in an anthill, aren't they doing interesting things, these little insects.'" (Gompertz, BBC)

I can't imagine the numbers of people who despise the Hunger Games for its lack of avoxes, Lord of the Rings for its lack of Tom Bombadill, or Disney's 20,000 Leagues Under The Sea for its addition of seal. Apparently, the Bible isn't the only holy text. There's this infectious idea among some that literature must be adapted as true to the text as humanly possible, and even the slightest divergence is a cause for criticism. I call this idea book purism and it can damage one's perception of an otherwise excellent film or television show. 

To deconstruct book purism, we must first understand what an adaptation is. One definition of the word adaptation, according to my Webster's Dictionary, is,

"3. b. a form or structure modified to fit a changed environment" (10)

So, based on this definition, fundamentally, making a visual adaptation that is completely true to the text is impossible. The literary and the visual exist in two very different worlds. One world unfolds in your mind, while the other is presented before you. One medium describes the scenery in a paragraph or a panel, while the other can show it in an establishing shot. So clearly, things change when your story is taken from one world into the next. Understandably, parts of a text will be lost during the transfer, but also, a film could bring dimensions to the story that it otherwise may not have had. I believe that a visual work and a literary work should live as independent entities, each one to be judged on their own merits. Their relationship should be like that between a parent and a child. Yes, the child and the parent are related, but both can live differently. So when Christopher Tolkien, son of Lord of the Rings author J.R.R. Tolkien, said in an interview for Le Monde that, "They eviscerated the book by making it an action movie for young people aged 15-25," he, being very close to author of the novels, tends to judge the films more by their differences to the book, as opposed to judging the films in their own right. I think that his critique, however, is more appropriate for the Hobbit films.


Now when I say book purism I mean a sort of blind worship to the text. So much so that any change, regardless if it improves the visual text or no, is inherently wrong. It is the belief that the book is always better than the film or show. This is not to say that there aren't ideas in the text that wouldn't make the film or show better, or that authors shouldn't care about how their works are represented in other mediums. We have to balance respecting the intent of the creator, while recognizing the variations of the art forms.

First off, the elitist idea that books are inherently better than films and television in every case. Now, being a writer, and something of a reader myself, I have a deep respect for the literary form. In fact, I would argue that reading is an essential activity to learning about human nature and the world around us. Much of our knowledge and much of the world's best storytelling was put down into books. Indeed, books, in their forms, be it novels, poetry, plays, or graphic novels, have very much enriched my life. However, man need not experience art through the text alone. I believe that movies are also very enriching, and to a degree, essential. 

In an interview for the Archive of American Television, Roger Ebert said on films, "They affect the way people think and feel and behave and they can be both a good influence on society and a negative influence." The same could be said for television. Books are a more challenging art form that require active engagement on behalf of the reader, whereas films and TV simply require you to sit in front of a screen for an hour or more. Since books have been around longer than films and television, they are seen as above them. In most cases, I agree, they often are, but not in all cases. Book purism tends to reinforce the idea that if one truly wants to enjoy an adaptation, they must do the so-called "busy work" of reading. Why do we punish people in this way? People should come to literature out of love, not force (though a little nudging here and there couldn't hurt). Since when did film and television become dessert and books the vegetables? (They're both treats as far as I'm concerned). Are visual arts, because of their easy accessibility, these sinful things that we should steer from unless we jump through all of the hoops? This whole ordeal reminds me of passage in Matthew 12: 41, "The men of Nineveh shall rise in judgement with this generation, and shall condemn it: because they repented at the preaching of Jonas; and, behold, a greater than Jonas is here" (418, King James Bible). To provide some context here, Jesus is discontented that the people who praise the old prophets of God, will not lend that same praise to him, the messiah. Now the point that I'm trying to make here isn't that Jesus was the messiah, (that's up to you), but that simply because something is new doesn't mean you can't find as much, if not more value in it than an older thing. Yes, moving pictures are a relatively new way of viewing the world, considering that literature and paintings are centuries old, whereas films and television are little over a hundred. Yet this fact does not make the visual adaptation inherently inferior, but opens new possibilities that otherwise may not have been conceived. We have an abundance of moving pictures to explore, let's appreciate them without the stigma.

Second, a visual adaptation can improve on or add things otherwise unable to be conveyed in its literary form. Take Walt Disney's Snow White and the Seven Dwarfs, which was based on the Grimm Brothers' fairy tale. Now the original fairy tale is a fine one, but one of its problems was that the dwarfs were all the same, and this would be boring to see on film. So Disney gave each of the dwarfs distinct characteristics, and thus, they add some of the most entertaining humor to the story. Disney later did something similar with the fairies in Sleeping Beauty. Consider, also, Hayao Miyazaki's adaptation of Diane Wynn Jones's Howl's Moving Castle. In the book, the walking castle, while being a fascinating object, was, to my memory, more of a backdrop to the bickering romance between Sophie and Howl. Whereas in Miyazaki's film, the castle takes on this radical makeover as an organic steampunk chimera. It serves as a great centerpiece of the story and becomes something of a character in and of itself. It is a visual treat that you can't quite get by reading the book. In short, just think about this: would you rather read about a Quidditch match in Harry Potter, or see one before your eyes?

Third, for best results, the visual adaptation should respect the intent of the creator. This means understanding the soul of the story and expressing that through the visual piece. So when Stephen King says things like, "Shelley Duvall as Wendy is really one of the most misogynistic characters ever put on film, she's basically just there to scream and be stupid and that's not the woman that I wrote about" (BBC), it means that Kubrick probably didn't understand what King wanted to convey, or for that matter, even cared. This difference in vision in The Shining is further elaborated by Laura Miller in her article "What Stanley Kubrick Got Wrong About The Shining." for Salon,

"King is, essentially, a novelist of morality. The decisions his characters make — whether it's to confront a pack of vampires or to break 10 years of sobriety — are what matter to him. But in Kubrick's "The Shining," the characters are largely in the grip of forces beyond their control. It's a film in which domestic violence occurs, while King's novel is about domestic violence as a choice certain men make when they refuse to abandon a delusional, defensive entitlement. As King sees it, Kubrick treats his characters like "insects" because the director doesn't really consider them capable of shaping their own fates. Everything they do is subordinate to an overweening, irresistible force, which is Kubrick's highly developed aesthetic; they are its slaves. In King's "The Shining," the monster is Jack. In Kubrick's, the monster is Kubrick."

I bring this up to demonstrate that while Kubrick's The Shining may be a poor adaptation of the novel, that does not necessarily make it an equally poor film. Yes, Jack Nicholson's performance is not much different than his others, and yes, Wendy's depiction as a nitwit damel-in-distress is sexist, but the movie still has a frightful visual presence hardly rivaled by most horror pictures. So it is important that when we judge an adapted piece, we are sure to distinguish between its success as as a good story and its success as a good adaptation. 

Now I think that Christopher Tolkien had a good point about the Lord of the Rings films, when he also said in Le Monde, "The chasm between the beauty and seriousness of the work, and what it has become, has overwhelmed me. The commercialization has reduced the aesthetic and philosophical impact of the creation to nothing. There is only one solution for me: to turn my head away." A similar criticism was also echoed by film critic Roger Ebert, who said in his review of Fellowship of the Ring that,

"The Ring Trilogy embodies the kind of innocence that belongs to an earlier, gentler time. The Hollywood that made "The Wizard of Oz" might have been equal to it. But "Fellowship" is a film that comes after "Gladiator" and "Matrix," and it instinctively ramps up to the genre of the overwrought special-effects action picture. That it transcends this genre--that it is a well-crafted and sometimes stirring adventure--is to its credit. But a true visualization of Tolkien's Middle-earth it is not."

Ebert and Tolkien both lament the darker and more action-paced tone than an epic picture like the Lord of the Rings would have in today's blockbuster Hollywood. I feel that Ebert, being a film critic, recognizes this as more of a reality for the film, than Tolkien, who decries it. Now I have deep affections for both the film trilogy and the book trilogy. The books, to me, felt more like epic fairy tales, with compelling characters and flawless descriptions. They also have degrees of subtlety in presentation and welcoming atmospheres in tone. The films, on the other hand, are incredibly shot, acted, and written. I really feel that they captured the heart and the scale of the novels, even if Tolkien doesn't think so. I will admit, however, that some of the subtleties in the text are lost on the films. Take the scene, for instance, where Galadriel is tempted to take the Ring from Frodo. In the book, it certainly had an ominous and dramatic atmosphere, "She lifted up her hand and from the ring she wore there issued a great light that illumined her alone and left all else dark. She stood before Frodo seeming now tall beyond measurement, and beautiful beyond enduring, terrible and worshipful" (410, Tolkien, J.R.R.). In the film, however, Galadriel turns into a glowing green monster whose lines were apparently dubbed by a female Darth Vader with water in her helmet. The event is so campy that it undercuts the seriousness of the scene. (The awkward close-ups throughout had a habit of doing that, too.) Tolkein's other critique, that Lord of the Rings is now a franchise to be sold in any way possible, is sad, but this is not really a fault on the films. It's a fault on our commercialized culture, in which the mass arts struggle to survive without compromise. Nevertheless, this is still, once more, a judgement on the films as adaptations, as opposed to them as their own stories. Now that is not to say that there isn't overlap in these analyses, but the influence of the book is certainly a stronger inclination in these criticisms. Ebert even admitted to this in his Fellowship review, "That "Fellowship of the Ring" doesn't match my imaginary vision of Middle-earth is my problem, not yours." There are so many different ways of seeing Lord of the Rings, in fact, that Marcel Aubron-Bulles of the Tolkeinist wrote a great article entitled "Why the 'film purists' and the 'book purists' will never understand each other – on how (not) to appreciate Peter Jackson's work". Okay, so I'm not the first person to use the term book purist, but getting back on subject, Aubron-Bulles wrote on the different perspectives that general movie goers, film critics, and fans of the book would use in criticism of these films. By the end of the article, he still loved the films, even if they were different from the source,

"I love the films, I love the books and I find it very hard sometimes to agree with all these positions brought forward – I am just a Tolkien fan who thinks that his favourite writer and his books are the best there are and if someone like PJ does films then they are amazing, too (even if they have nothing to do with the books.)"

Fourth, yes, mistakes can happen in adapting a work between the mediums. Horrible mistakes. We need to ask ourselves, should the story even have a visual adaptation at all? Some literary stories don't make good films. Has there been a filmed version of The Great Gatsby that's worthy of the status the book's reception apparently gets? For some reason, F. Scott Fitzgerald's story is just kind of boring when put on a screen. Perhaps it's a pacing issue. We should also consider how making the story animated or live-action will affect its presentation as well. Lewis Carroll's Alice in Wonderland received a great animated version by Walt Disney in 1954, since the animators had few limitations in illuminating Carrol's colorful world. On the other hand, when Tim Burton took a crack at it in the live-action format, limitations in special effects were obvious and unable to produce the same believability that the 1954 version did. When Beowulf, however, got the animated treatment, it didn't look impressive so much as distracting and awkward at times. A live-action retelling of the poem would have been able to better convey the story's somber tone. 

Oftentimes, as the book purists will happily tell me, distancing oneself from the text is what can make an adaptation less satisfying. In the Hunger Games, for instance, Katniss's personal narration from the novel is virtually absent. This would have been an easy way to slip exposition into the film and show Katniss's relationship with Peeta was clearly one of convenience as opposed to an actual romance. At that point, anyways. Without the narration, this undercurrent to Peeta and Katniss is made unclear in the film, confusing audiences, while the lack of exposition will sometimes necessitate abrupt interruptions from the talking heads of Capitol TV which break the flow of the narrative. In the Guin Saga novels, the battle scenes are described with enough of bloodshed and gore to please Quentin Tarantino. This brought a brutal sense of realism to the story, and more tension to fights. In the anime (a medium known for its ultra-violence), the battles are completely toned down to almost Pokemon levels, and thus, the dimension of reality that the fight scenes once had is lost. These changes, I must emphasize, are only worth noting insofar as they affect the enjoyment of the film or show on its own. To illustrate, the exclusion of Peeves the Poltergeist from the Harry Potter films was not a bad idea. Reducing Cho Chang's development in Order of the Phoenix was. By the way, staying too true to the book has its own slew of problems as well. Take, for example, the decision in Catching Fire to include the white baboons in the Quarter Quell. No amount of CG wizardy could make that look any good.

In the end, the literary and the visual often oppose, but they can also complement each other. In an interview with Joseph Gelmis, director Stanley Kubrick had this to say about the filmed and written versions of 2001: A Space Odyssey:

"I think it gives you the opportunity of seeing two attempts in two different mediums, print and film, to express the same basic concept and story. In both cases, of course, the treatment must accommodate to the necessities of the medium. I think that the divergencies between the two works are interesting."

Indeed they are.
 
Now, if you'll excuse me, I'll get back to watching Fullmetal Alchemist.







Bibliography

Aubron-Bulles, Marcel. "Why the 'film purists' and the 'book purists' will never understand each other – on how (not) to appreciate Peter Jackson's work." The Tolkienist. September 27, 2012. Web. http://www.thetolkienist.com/2012/09/27/why-the-film-purists-and-the-book-purists-will-never-understand-each-other-on-how-not-to-appreciate-peter-jacksons-work/

Ebert, Roger. "Lord Of The Rings: The Fellowship Of The Ring." rogerebert.com. December 19, 2001. Web. http://www.rogerebert.com/reviews/lord-of-the-rings-the-fellowship-of-the-ring-2

Gompertz, Will. "Stephen King returns to The Shining with Doctor Sleep." BBC News. September 19, 2013. Web. Video. http://www.bbc.com/news/entertainment-arts-24151957

Kubrick, Stanley. "An Interview With Stanley Kubrick (1969). " Interview by Joseph Gelmis. Excerpt. The Film Director As Superstar. Garden City, New York: Doubleday And Company, 1970. Print. The Kubrick Site. Web. http://www.visual-memory.co.uk/amk/doc/0069.html

Miller, Laura. "What Stanley Kubrick Got Wrong About The Shining." Salon. October 1, 2013. Web. http://www.salon.com/2013/10/01/what_stanley_kubrick_got_wrong_about_the_shining/

Rerolle, Raphaelle. "My Father's "Eviscerated" Work - Son Of Hobbit Scribe J.R.R. Tolkien Finally Speaks Out." Le Monde. July 9, 2012. http://www.lemonde.fr/culture/article/2012/07/05/tolkien-l-anneau-de-la-discorde_1729858_3246.html Trans. Worldcrunch. Web. http://www.worldcrunch.com/culture-society/my-father-039-s-quot-eviscerated-quot-work-son-of-hobbit-scribe-j.r.r.-tolkien-finally-speaks-out/hobbit-silmarillion-lord-of-rings/c3s10299/#.VC4VBRbp9EP

Rutkowski, Gary. "Roger Ebert On Film Criticism-TV LEGENDS." The Archive Of American Television. November 2, 2005. YouTube. December 30, 2008. Web. https://www.youtube.com/watch?v=8FCVlQ_5aSI

The King James Bible. pg 418. Colombia: Tom Nelson, 1987. Print.

Tolkien, J.R.R. The Lord Of The Rings: The Fellowship Of The Ring. pg 410. United States: Del Rey, 1954. Print.

Webster's Universal College Dictionary. pg 10. New York: Gramercy, 2004. Print.




Want to watch Fullmetal Alchemist, too? See it on YouTube through Funimation's official page: https://www.youtube.com/show/fullmetalalchemist


In this video, director Mick Garris discusses why the film of The Shining is a poor adaptation of the book. Warning: the clip shows scary images from The Shining