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All You Need Is Kill DOUBLE Giveaway Contest!

by nickmamatas

Did you attend Free Comic Book Day on Saturday? You might have gotten a sample of the All You Need Is Kill graphic novel! Or, have you been to an airport recently—you might have seen the movie tie-in edition of the original novel, now called Edge of Tomorrow.

To celebrate the release of the graphic novel—tomorrow, kids, tomorrow!—we’re doing yet another one of our giveaway contests. Four lucky winners will get both the graphic novel and the movie tie-in paperback. Note, the paperback is the same novel as the original All You Need Is Kill*—it is not a novelization of the film. Don’t be like this confused guy!

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So here is our essay prompt: tell us about your favorite, or least favorite, transmedia adaptation. Book to movie, movie to comic book, manga to anime, novel to anime, ancient fairy tale to puppet show. Whatever you want! The four most entertaining get the books, and as usual we ship anywhere, like goofy stuff, and can read Japanese, Spanish, German, Chinese, and Greek!

Just leave your response in the form of a comment in this post before noon Pacific time on Friday, and you have the chance to win!

*We did correct a few copy errors, as is typical with reprints.

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17 Responses to “All You Need Is Kill DOUBLE Giveaway Contest!”

  1. Nathan says:

    I’m fond of cheesy, bad movies, especially ones with commentary by Mystery Science Theater 3000 (MST3K). One of my favorite MST3K films was Manos: The Hands of Fate. Manos, for those who have been luck enough not to see it, is a creepy, nonsensical movie about a family that gets lost in the desert and ends up being menaced by a creepy guy with over-sized knees. The film was funded by a fertilizer salesman, and is generally agreed to stink worse than the literal shit he usually sold.

    Naturally when there was a Kickstarter campaign to fund a puppet version, titled Manos: The Hands of Felt, I gave them money. The puppet Manos managed to maintain the creepiness and nonseciality of the original, but replaced the general awfulness with humor. This includes Bert & Ernie look-alikes making out, a boy in a dog suit being brutally killed, and the star of the movie being kissed and assaulted by every other character in the film.

    The puppet version also added to the plot by being as much a parody of the (imagined) filming of the original Manos as it was of the movie itself, which made the whole thing just that much weirder and more enjoyable. It managed to turn one of the worst movies ever made into something great.

  2. Angel says:

    I can name a couple of favorites, or at least ones that have stuck with me over time.

    First, The Godfather from book to film. Like many, I discovered Puzo’s work via the excellent film. It was many years later that I found a copy of the book, read it, and I was simple engrossed. For one, the book gave me a great appreciation of the film. Two, I did not realize how much the film left out of the book. Sure, the film adapts the spirit of the novel well, but it did leave a whole ton of things out. And then, it has a very different ending from the film.

    Two, I don’t know about you guys, but any of you read those novelizations from the late 80s or so by Alan Dean Foster? I swear any time you needed a scifi movie “novelized,” they called him in. I particularly remember the novelization for the film Outland. One thing I often like about novelizations, maligned as they often are, is how they add small details here and there that seem to make the movie narrative a bit richer. Of course, not all novelizations do that well, but when they do, it’s a good thing to read. And those books are really “popcorn” books you could read in a sitting or two and then move on to the next one.

    Best, and keep on blogging.

  3. Sam M-B says:

    My favorite transmedia adaption is the graphic novel of Aronofsky’s The Fountain, illustrated by Kent Williams. Though it’s kind of twisty to think about which adapted what, since the graphic novel came out of the (failed) first production of the film, ahead of the (scaled back) second try with Hugh Jackman and Rachel Weisz. Yeah, people hate on the film, but I liked it quite a bit. And the graphic novel is even better.

  4. Antny says:

    Dredd – excellent movie, violent, dark, with strong dry humor pulled from the original, and no removing of helmet. Caught spirit of Judges perfectly, along with the anomaly of Anderson.

  5. Jason Burnett says:

    I had wanted to write about my least favorite adaptation, as it seems easiest to make a negative review entertaining, but I couldn’t really come up with one – an unfortunate side effect of being easily entertained, I suppose. Some instead I’m going to go with my favorite: Trainspotting. I’m probably in a distinct minority among Americans in that not only have I read the book of Trainspotting, I read it before I saw the movie. Consequently, when I saw the movie, I had high expectations for it: This wasn’t just some random movie about Scottish junkies, this was *Trainspotting*, probably my favorite book I’d read that year. And somehow, by some miracle of the filmmakers’ art, this movie lived up to my expectations. At this point I can pretty confidently say I will never move to Scotland and acquire a heroin habit, because if I did I’d be very disappointed if it wasn’t like Trainspotting, and I know I can’t expect lightning to strike twice like that.

    Also, another random bit of awesome here: Irvine Welsh, the author of the book, makes a cameo in the movie – Mikey Forrester!

  6. Michael Healy says:

    The best and the worst adaptations in my mind are found in the Power Rangers series. You don’t adapt simple morality plays/toy commercials from Japan for American audiences for twenty years (and counting) without some missteps and surprisingly good moves.

    PR’s parent series Super Sentai isn’t exactly know for its complexity. It’s the same general idea every year, five twenty somethings (or on occasion teenagers) get some magical or high tech doodad that lets them turn into brightly spandex clad superheroes and summon giant robots to fight weekly monster attacks unless preempted by sports. Still it manages some good dramatic moments such as the end of Jetman, where after defeating the invading aliens and giving the government back his doodad the black ranger tries to help woman getting mugged and gets stabbed for his efforts. The last shot of the series was the black ranger dying on a park bench. That is some heavy stuff for a kid’s show (or family show depending on who you ask). That season was the year before Zyuranger, the season that would become the Mighty Morphin Power Rangers so American kids never had to deal with that.

    Anyways Power Rangers has an odd relationship with it’s source material. For one thing, it takes itself very seriously. Yes it has some awkward comic relief, often in the forms of bumbling civilians and horrid puns the rangers make while in combat but the storylines no matter how weird they get are treated with stone cold seriousness. To this end they will often cut episodes with weirder monsters of the week so they can try to be serious like Americans were convinced all superheroes should be back in the 90s. On the other hand tied by standards of what it’s appropriate to show American kids on broadcast TV violence needs to be toned down. Heroes don’t die, CGI bullets are turned into CGI lasers, the mutant terrorist villain who likes to blow up buildings from the 2001 season (Time Force) got his sympathetic backstory cut, stuff like that. So as an end result we have a show that tries to be more serious than it’s Japanese parent but is not allowed to do much with that seriousness. The end result is a very mixed bag that runs across the spectrum of adaptation quality from bad but close to the source material (Samurai, Mystic Force), bad and having nothing to do with the source material (Turbo, Operation Overdrive), good and close to the source material (Time Force, SPD) and good but with nothing even resembling the source material (RPM, In Space).

  7. Ian H. says:

    I’m a pretty big fan of the Game of Thrones TV series not only because they’ve stuck fairly close to the source novels, but also because a lot of the changes they’ve made make sense given the different medium they’re in. Not all of them, mind you (sometimes I think they change things just to give us book nerds something to whine about), but most.

  8. Jamie Howatson says:

    Honestly, my favorite transmedia adaption would have to be Battle Royale. The film adaption of the book is fantastic, and maintains some of the brutality (blood fountains birthed from people’s necks?Yep!) and keeps me engaged, It’s among films like Reservoir Dogs and Pulp Fiction that keep my attention and have plenty of re-watchability. To top it off, there is a manga adaption of the book as well, which translates beautifully into a gory, entertaining read, with interesting characters (much more fleshed out than the film).
    For bonus points, Battle Royale is one of Quentin Tarantino’s favorite films as well. It’s a damn shame the manga isn’t easy to collect (reprint please *cough* *cough* *nudge* *nudge*).

  9. Nelly Geraldine García-Rosas says:

    Can I comment in Spanish?! *tears of joy*

    Saint Seiya cae en ambas categorías (mi adaptación favorita y la que menos me gusta), pero por razones muy distintas.

    El anime fue lo mejor que pudo haberle pasado a la serie (¿quién le dijo a Kurumada que podía dibujar humanos?) pues no sólo la mejoró sustancialmente en el aspecto artístico-visual, también aportó personajes y tramas entrañables que no aparecen en el manga original (me refiero a la saga de Asgard, por supuesto; el caballero Cristal ha sido borrado de mis recuerdos). Creo que nunca me hubiera acercado a Saint Seiya si no existiese el anime. La historia es genial, llena de actos honorables y mucho más violenta en el manga, además de que el diseño de las armaduras es impresionante, pero ¿han visto las portadas atroces que gritan “no me compres”?

    Se preguntarán, entonces, porqué la adaptación de esta serie de mangas es de las que menos me gustan. La respuesta es sencilla: Seiya porque vence hasta al ser más poderoso del universo con golpes sin sentido como niño haciendo rabietas; deus ex machina, pues. Y me doy cuenta que eso no es culpa de la adaptación.

  10. Tanya N. Kutasz says:

    Least favorite adaptation would probably be the book Night Watch by Sergei Lukyanenko into the movie directed by Timur Bekmambetov. While the book delves into some really interesting territory regarding how magic might work if it were real, and does it through the use of well developed and interesting characters, the movie does none of that. It got turned into a slapstick comedy with characters that are much more shallow than the book versions (even given the constraints of a 2-ish hour movie vs. a whole book).

    And lest it seem I’m the sort who always thinks the book is better: My favorite adaptation is probably Blade Runner. Even though I enjoy the original PKDick novel, the movie just went above and beyond. It’s great on so many levels: classic SF-ish themes that make you think, wonderful actors, and amazing visuals that left an incredible mark on SF in general for years (and arguably still is).

    That’s my 2 cents 😉 Have enjoyed reading everyone else’s as well! Good luck to all 🙂

  11. Henry says:

    I think my favourite would have to be Great Teacher Onizuka. Adapted from the original manga, it spawned an animated series and two live action series. I have a personal fondness for the animated series, as it is part of the reason I became a teacher, but the first live action series has its own magic to it as well.

  12. Robert says:

    My favorite transmedia adaptation is the T.V. adaptation of Starship Troopers. Roughnecks: Starship Troopers Chronicles was an all-CG cartoon that followed the exploits of Razak’s Roughnecks as they fight in the Bug War. The reason I enjoyed it so much is because it combines elements of both the original novel (power armor, the Skinnies) and Verhoeven’s film (Dizzy’s sex change, Carl and Jenkins being one person and physic, Ra(sc)zak’s weird time as a teacher, the awesome bug designs) with original elements to make a show that, if I should say in blasphemy, is better than both the novel and film. Plus, how many kids’ shows show a bunch of soldiers killing aliens with rifles that actually shoot bullets? (Bet you five bucks that the actual reason the show was cancelled was because parents believed the violence would corrupt their children.)
    “Live forever apes.” – Lieutenant Razak before every op.

  13. Danny says:

    I have seen and read many transmedia. They include movies-to-books, books-to-movies, video games-to-movies, video games-to-books, TV-to-books, just to name a few.

    Many, many, many stories have crossed my path over the years. But one that immediately—always—crosses my mind are the Monk books.

    The Monk I’m talking about is Adrian Monk, the obsessive-compulsive detective. The show entitled “Monk” ran for eight seasons on USA. The books were written during, and after, the show’s airing.

    Lee Goldberg wrote fifteen novels based on the Monk series and they are all awesome.

    Each book is like a big Monk episode where there is one central mystery to solve along with subplots that tie in together. The books adhere to the show’s continuity while also creating it’s own, allowing the characters to grow and thrive—even for the man himself who hates change. (It’s on his list that includes death, naked people, milk, the wind and hundreds of other things.)

    The books go beyond what you see in the show, which is what one hopes for when reading a novelization of a TV show or movie. Most of the one’s I’ve read have been okay, but the Monk books are without a doubt the golden standard of a “pop novel.” It gives reasons on why the characters are the way they are. It’s made me laugh out loud and the intricate plots has kept me hooked until the mystery was unraveled.

    One scene I remember in the books was when Monk’s brother let him borrow an instruction booklet about a VCR and DVD burner (for a good read.) Most of us know what that is. But Monk’s reaction? “It sounds great. Why would anyone want to toast a DVD? Are they edible?” How do you not laugh at that? You could say he’s very much human but he would probably take offense and say, “There’s no need for name calling.”

  14. Nicole says:

    My absolute favorite adaptation from book to film is The Hunger Games. Not only because it’s a fantastically faithful adaptation of the source material into a series of films, which it is. The first one, in particular, was a brilliant transition – especially re: the script and camerawork.

    But, the true beauty lies in the fact that while marketing a story which is entirely about the depraved indifference to suffering that individuals & their societies will indulge in so they can favor idealistic narratives about romance, heroism and their own goodness… a movie named after the fact that children wind up fighting to death because they are starving is getting Subway Meal Deals named after it.

    Suzanne Collins is clearly a damn prophet, and her books are wonders. But it was the books being adapted into movies which brought me the surreality of seeing the despairing faces of two human sacrifices being used to sell me a 6 inch Italian BMT. The Hunger Games’ adaptation went from book, to film, to reality – and that’s why it’s my fave.

  15. Leslie says:

    My favorite transmedia adaptation is the light novel The Disappearance of Haruhi Suzumiya to the movie of the same name. The animation for this film is simply breathtaking! The background scenery is very detailed, the characters’ expressions are very nuanced, and the film succeeded in delivering this foreboding Haruhi-not-being-there atmosphere. Compared to the animated series, the movie has a more melancholy (ha!) tone, and it really works! It’s like the movie telling me that Haruhi’s presence was like that of the Sun in the story, and her disappearance puts a somber, sadder note on everything.

    I’ve actually watched the movie first before I was able to read the light novel. One of the scenes I was looking forward to while reading was this scene near the end of the movie, with Kyon returning to the normal timeline where Haruhi exists. In the hospital, he sees her sleeping, apparently having stayed by his side for days. He then traces her face’s outline—her lips, nose, eyelids. I don’t think the light novel depicted their reunion as that touching, so that was a really good call for the movie creators to add.

    I think the mark of a good transmedia adaptation isn’t about transferring everything from one medium to the other. It’s when both medium, despite sharing the same story and characters, are capable of delivering a different yet still enjoyable experience for the viewer. This is how I see the Disappearance adaptation. The light novel did well in expounding on the inner thoughts of Kyon, while the movie was able to provide me with a visual representation of the disappearance itself, contradictory as that sounds.

  16. Ken Haley says:

    My least favorite transmedia adaption has to to be the League of Extraordinary Gentlemen movie. The addition of several characters for no real reason, cutting back on Mina’s role and removing her as the leader of the group and turning her into just another femme fatale, the removal of Fu Manchu and more all result in a movie that bears little resemblance to rather fantastic, enjoyable and clever comic that it’s based upon!

    What’s even more confusing, is that the removal of some of these elements meant that it lost the opportunity for some jaw droppingly amazing visual moments! I would have loved to have seen that huge aerial battle in the comics climax on the big screen! It would’ve looked amazing! Why would you ditch some of the best visual moments when you’re trying to turn it into a summer blockbuster? It’s just.. baffling.

  17. Alex John says:

    My favorite transmedia adaptation would have to be the Hikaru no Go anime. I started watching anime when I was fairly young, and, like everyone else, I was initially only into shows like Dragonball, Naruto, Bleach, One Piece, etc.: ones that fall under the “battle shounen” genre and are defined by their fight scenes. Needless to say, I initially picked up the Hikaru no Go anime with the understanding that it was very unlikely that I would continue it to the end. My subscription to US Shounen JUMP had allowed me to read a bit of the manga, but the idea of an entire anime devoted to normal people playing a board game still did not fill me with hope.

    My expectations were blown out of the water. By the time I hit the tenth episode I was completely hooked; so much so that I ended up watching the entire series within a week. After I’d finished, I began buying the graphic novels.

    It’s difficult to sum up what I like about Hikaru no Go because it has become one of my favorite series and I feel like it hits all the right notes perfectly to affect a compelling and truly heartfelt story. The characters are vivid, relatable and remarkably lifelike, such that they become the perfect vessels for one to experience the story through. When the characters go through hard times, you feel genuinely bad for them. When they have significant growth or achieve victory, you feel genuinely bad for them. They are the kind of characters I would say come closest to being fully realized.

    The setting is simple and realistic, but that makes it all the more useful for fleshing out the characters. Despite the series hinging on a board game, the board game itself could be replaced by nearly any activity one can devote their life to and the series wouldn’t change significantly. Nonetheless, the games and plays all seem legitimate and well thought out, and each episode ends with a Go lesson, so I’d imagine that someone who knows Go better than I do could enjoy it for this as well. The supernatural elements all revolve around Fujiwara no Sai, a ghost from the Heian period, who possesses and befriends Hikaru so that he can play “the divine move”: the absolutely perfect Go move. Being the only supernatural element in the series, he stands out, but is not in any way overbearing, being limited to playing Go for Hikaru and helping him grow.

    Now that I’ve mentioned it, let’s tackle the elephant in the room: the characters’ growth. Hikaru starts as a silly kid who doesn’t apply himself or really excel at anything. Through Sai, he learns to love the game of Go and applies himself with the hopes that he will someday be able to stand up to his rival, Touya Akira, a Go prodigy and son of the largest figure in Japanese Go, Touya Meijin. Sai, while initially only wanting to play Go himself, eventually finding just as much joy in coaching Hikaru and watching his growth. Touya Akira, having had Go drilled into him his entire life, is extremely talented but has little experience in anything not related thereto, and, because nobody his age can measure up to his skill, has been unable to obtain any friends or rivals his own age. He ends up finding a soulmate in Hikaru, who initially crushes Akira using Sai, but decides that he wants to win on his own someday. The way these three main characters grow and mature (both mentally and physically) through their relationships with one another is breathtaking in its complexity, and it isn’t even just them. In nearly every character of the very large cast exists Yumi Hotta’s relentless and seemingly effortless ability to flesh-out and make compelling characters of any archtype. I truly hope that she someday returns to making manga. Also, I’d be remiss if I didn’t mention Takeshi Obata (of Death Note fame) and his fantastic artwork (obviously, it doesn’t exist in the anime adaptation, but was a framework for the artwork used therein).

    Overall, the anime adaptation takes this already fantastic story and makes it even better, allowing better reader integration through the use of voices and animation. That’s really the best you can expect from an anime adaptation and Hikaru no Go accomplishes it perfectly. This is, and will remain, one of my favorite series of any medium and I truly hope that as many people as possible get a chance to experience it.

    As for my least favorite adaptations, Black Cat, Air Gear, and Majin Tantei Nougami Neuro all come to mind (particularly that last one, as, awesome eyes or no, it’s an awful adaptation of one of my favorite series).

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