Recent years have brought fantasy fans a actual abundance of screening of cult positions, which should theoretically delight us, while the tension and discontent increase year by year.
After the immense success of Peter Jackson's JRR Tolkien ringing Lord screening, we had a wonderful screening of C. S. Lewis's Tales of Narnia, then Jackson took "Hobbita" to the workshop. And here came the first controversy, but, anyway, the series defended itself.
Another immense success was the screening “Songs of Ice and Fire by George Martin, which HBO produced under the title of the first volume of the series, or "Game of Thrones". The planet went crazy about fantasy again, the book sales grew amazingly, and the show, although with each period it drifted distant from the origin text, nevertheless retained the atmosphere of the planet and the characters created by the author. Fans of the genre excited by excellent productions began to anticipate more, and fantasy has already permanently taken a strong position in mass culture.
And here comes the stairs. The movie manufacture is simply a immense marketplace that governs its rights. In order to make satisfactory, high-budget productions, the product itself must be adapted to the needs of this market, to the requirements of the mass consumer, which has changed over the last decades. It was hard to work on – from readers, listeners, viewers – that we became its consumers. And a genre specified as fantasy simply does not deal with it, it is hard to fit into the modern framework, even though it is 1 of the youngest varieties of beletristy – it is assumed that the beginning of the genre is the work of JRR Tolkien or the beginning of the 20th century.
Although the literary genre is fresh, its essence is to trust on the old. Tolkien, as a author and linguist who primarily dealt with dead languages, specified as Old English or Old Norse, was besides profoundly English fanatic, who lamented that his homeland did not have specified extended mythology as another ancient peoples. Yes, the islanders (Celts) had their messages and legends, but they were not as abundant and coherent as Hellen mythology. Therefore, the author decided to make specified a mythology – write. So at dawn the full species is anchored in what is old. It is clear, then, that this work must be presented in a appropriate manner, with certain rules (language, creation of the world, etc.).). That's how it's done for a 100 years by many continuationists writing fantasy, which has become 1 of the most popular species in the world.
We have besides seen the above-mentioned screens that keep these rules. In fact, they are a large modern carrier of the values contained in fantasy works. On the pages of these novels we find not only adventure, dragons, elves, dwarves, castles, etc., but besides values shown as an eternal conflict of good and evil. This is evident especially in Tolkien, who, as a profoundly believing Roman Catholic, attaches large importance to making the boundary between good and evil clear for a simple reason – he wrote his books with children in mind. His work is simply a wonderful example of classical knowing of good, beauty and truth.
Fantasy is based straight on legends, stories, folk messages and old languages. Hence, the magical planet is “matched” in medieval realities – castles, weapons, fighting techniques, or political systems. That's why all this is so close to us. Thus, in the end, all attempts to "modernize" or references to modern times made "to grandda" will not pass in fans of the genre, specified as science-fiction. It's simple – creating a imagination of the future, you can afford anything, and fantasy is expected to be so varied about magic past, and we know it, we feel intuitive since we were a child. My seven-year-old son, to whom I have been reading Hobbit to a pillow for respective years now watching Jackson's screens with me, naturally asks me sometimes: – Dad, and erstwhile did Hobbits or dragons live? Where's Gondor?
Reversal of the species
Fans of fantasy, which I have been a associate of for over 20 years, are a circumstantial marketing “target” in popular culture. We like conventional forms, we attach ourselves to our beloved worlds / universes, heroes (unless individual is simply a Martin fan, then not) and their characters. In this respect, we are a bit like Tolkien's Hobbits – we love a well-crafted story, and we treat our favourite works almost as places to which we like to return knowing that everything here is old. But if any variables are introduced, they should come straight from history.
We just identify with our favourite characters and created worlds. Therefore, we are a problematic “target” for contemporary labels and platforms that are struggling to screen literary works. Modern “kino”, especially that served to us as part of popular streaming platforms, is geared to fast delight and profit. Everything is given in a ‘clips’ form. These productions constantly bombard us with a changing image in dynamic moments, and the moments that should tell the communicative through dialogues or showing the planet are dominated by infantile conversations and, above all, the diversification of modern ideological currents. The creators through the game conduct the viewer decently by hand, not burdening them with turbulence forcing reflection, but they make certain that in all almost phase there are adequate races, genders, strong women, LGBTXYZ threads and contemporary issues. Both the creation of the planet and the characters are included very shallowly and superficially. Clearly, then, all this with fantasy lovers entered a collision course any time ago and the collision was inevitable. With fans of comic or science-fiction universes there was besides a bite, but yet many of these positions transferred to the "big" screen and given in the form of a "simplified" rather well defended as entertainment.
It happened that fantasy fans became the salt in the eye of contemporary film-serial creators. The only exception here is the Game of Thrones, as Martin's books themselves abound in dynamic, ambiguous, strong, foreground female characters, the border between good and evil is blurred there, and there are insufferable threads of sexual differences. Supposedly the origin material perfect for creating a contemporary fantasy picture, and yet, as shortly as the creators were besides far distant from the plot, the fandom (community of lovers) immediately began to express discontent.
However, these unbearable nerds (the American word fantasy fans and RPG games) are eternally dissatisfied. They insist on keeping as close to the books as possible and delivering first of all a well, faithfully told story. Expectations were pushed to the limits of anticipation by the superb adaptation of the Lord of the Rings directed by Peter Jackson, who over 20 years ago became an absolute pop culture phenomenon which simultaneously satisfied almost the full JRR Tolkien fandom. Only that the creators of this work caught on to the “last moment” of average cinema. The manager himself asked a fewer years ago whether his screening would go through present fulfilling the expectations of Hollywood labels answered with certainty: no!
However, pop culture hates the vacuum in areas that have already been filled. It created a niche called movies / fantasy series, which must be epic, spectacular productions. It worked with the Lord of the Rings, Narnia Tales, A throne game or something with Hobbit, but then what? The warm audience was waiting, and at the time the standards of modern cinema were changing at an alarming rate.
The problem became this unfortunate nerd – a lover of a good fantasy that has its expectations – likes “old” is like this hobbit. Paradoxically, in a species that is full of dragons, magic, elves, etc., that is, 1 would think that in itself it is rubbing itself against kitsch, a fan of fantasy is resistant to tacky and smallness of message. It is so essential to adjust this full fantasy to modernity, to shallow for the needs of the fresh viewer, whom they create, in a word – to overturn.
Then war!
This is where immense streaming platforms with immense budgets and their plans enter the game. After the success of HBO each of them wants to have their Game of Thrones or epic fantasy series! Each of these platforms is besides working on creating a viewer, so the tasks are two: – besides make good money on fantasy; – deal with this species erstwhile and for all, matching it to modern ideological matrix and viewer-consumer.
Isn't that a recipe for war on fans? Unfortunately, the platform's budgets allowed to scope for cult positions, that is, "The Witch" Andrzej Sapkowski and again after the Lord of the Rings JRR Tolkien, or actually, a different part of this universe, but about that in a minute. The announcements were loud. Jeff Bezos in the first phase, he was personally active in the "blowing balloon" of the series "The Rings of Power", and I must admit that I was hopeful. A distinguished tolkienist, specialists who worked with Peter Jackson, for a 4th of a million dollars, the Tolkien household (yet in the life of their son, Christopher Tolkien) was redeemed with the rights to “Lord of the Rings” – no miracle, honey.
They besides competed in Netlflix – Krzysztof Baginski as 1 of the producers liable for the effects, a large budget, Henry Cavill as the title witch Gerald, and the cherry on the cake, that is Andrzej Sapkowski himself watching over everything. What more do you want? Unfortunately, the full thought had to inevitably submit to Murphy’s law, for the anticipation of going something was besides bad! The faces of this catastrophe, which was to take place, became writers and alleged showrunners of both productions. I must admit that until now I did not know what this showrunner was, but I explain to the reader that this is simply a crossword between the executive maker and the press typical of the project.
Lauren S. Hissrich is the sholler of "Netflix witch-like product", while Patrick McKay and John D. Payne they are liable for the lion's part of the script and the ‘soldering’ in the shocking Rings Of Power. They were the ones who went to this war with the fans in the first ranks. On the occasion of all press conference, an interview, or even a brief statement, they always emphasized how faithful they are to the origin material, and well... They lied all time!
What was done in both shows is virtually rape on this origin material! Many commentators here see any unfortunate coincidence, inability or misunderstanding of the creators, any fatal case. I think it's all here, or the majority is absolutely deliberate! You don't invest so much money, you leave work on these amateurs to presume that it's going to happen. No, in my opinion, it is simply a war against fans of the genre and it is seen, for example, in the communicative of the creators of the series, who in consequence to criticism immediately blamed fantasy lovers.
When the first leaks, photos and conversations with the creators began to emerge, it became clear that there was no work on faithful screenings, but on bending the storyline of books to modern requirements of streaming platforms. erstwhile the announcements came out, no of us doubted what was going on, so criticism fell. In consequence to her, the sholrans immediately pointed to us as those ugly nerds who do not realize the modern world, are racists, homophobes, most likely white men in stinky sweaters, who beat women and hatred all difference.
When it was pointed out that this was not the case – we simply want faithful, well told adaptations, in response, during a large press conference with the actors of the Rings of Power, we learned that "thanks to the wonderful procedures the writers made, an amazing story, faithful to the origin material that Tolkien never wrote – 1 that shows all the problems of the modern world, along with its richness of diversity." This is about what Hissrich explained to us – the witch is expected to be a reflection of the present world! What don't you realize stupid fans!? So war...
Analysis of Fall
I won't discuss these productions in item due to the fact that it just doesn't make sense. I did this for you, and I watched it – okay, so honestly – from cover to cover, it's 2 seasons of Witch. The rings of power more on the head, due to the fact that the crowd of average imbeciles virtually induces the desire to rip hair off the head and cry despair. I haven't seen Blood Origin yet, but my colleague Przemysław Piasta did, and he said he couldn't get sober, and I believe him, so possibly 1 day, I'll catch up. If you want to know the content of these series without watching them, and at the same time have a large time, I send you back to the YouTube channel "The Lumberwood" – a sensational discussion of a man who is not only an experienced fan of the genre – a reader, viewer and player, but besides a literary expert in general and an excellent talker who tells it all with imagination and a appropriate sense of humor.
I will focus on just a fewer things that, in my view, disqualify these "screenings", while excluding the randomness of specified a turn of events. I'll start by saying that not only do these series have small (or nothing) to do with the origin material, but they are simply weak even if we were to consider them in isolation from it. An interesting fact is that in the case of the “Pings of Power” we are actually doomed to this approach to the subject. Why? Well, Amazon bought rights to the Lord of the Rings, or trilogy on the timeline of the 3rd mediate Era, for the 4th billion dollars previously mentioned. Cool? Yeah, it's the most popular of the works of a superb Englishman, so what's the problem and what's the nerds picking on each another again? It's just that erstwhile you're in possession of the Lord's rights... The creators of the series for money from Bezos decided to movie events telling about the circumstances of the formation of the rings of power, that is, the communicative contained mainly in Silmarillion and in the Unfinished Stories. This is happening in the Second mediate Ages to which Amazon did not buy rights!
By trying it on, it's kind of like Jerzy Hoffman He bought the rights to “Mr. Volodyjowski” and so decided to movie “Fire and Sword”. Actually it was even more “Krzyżaków”, due to the fact that “it is the same universe” – Poland, a common past and in full events from Mr.Wołoodyjowski were due to any of the ones in Teutonic Knights! In addition, Jurand's function would be cast by a black man, the conflict of Grunwald was held under Jasna Góra with Rusins, who would be commanded by a slant-eyed woman, and a shoolran would say: we tried to keep the origin text as close as possible. Thanks to the writers we created the communicative based on the literature of Henryk Sienkiewicz, but 1 that the author did not write, due to the fact that he simply did not make it. But now the movie is giving up contemporary problems and anyone can find a character with which they identify. We besides want to emphasise that the financial failure of the movie stems from the fact that Sienkiewicz fans are racists, homophobics and hatred women. Could it have been a coincidence? They mistakenly spent $250 million on something they didn't want to shoot or forgot to buy Silmarillion rights?
The next issue is virtually warping and showing everything backwards, and that concerns both productions. Sapkowski's "Wiedźmin" does not even have quarters of Tolkien's momentum and flight in the creation of the world. The strong side of this literature are the characters that we get to know gradually, are complex, have their characters, stories, problems and motives. The title Witch Gerald is simply a truly well-written hero – he has his dilemmas, lives in conflict with the world, and the reader gradually learns everything about him. Most importantly, it is the axis around which the full game revolves. It is by far the most crucial figure to bind all parts of the saga. It is multilayered, complex, hard in character, but it is besides faithful to friends and good. Grumpy and dry, but at the same time hurt with feelings.
In a netflix series, she's just a chipper, a killing machine. With each episode, it occurred to me that having specified a wonderfully written character, the brilliantly played Henry Cavin, who is by the way a nerd (so Cavill is simply a fan of witch and fantasy in general), the creators made him actually a secondary character. In the second season, I even thought that if this Gerald abruptly disappeared, it was almost no failure to the plot, which in almost all layer creates a real confusion with confusion. And what? “It got awkward” again?
Women’s characters in these productions are a real apogee of absurdity! Here the creators seem to compete with each another in the category: the stupidest scenario. Those who wrote Galadriel's characters from “The Rings of Power” and Ciri and Yennefer from “The Witch” are actual crime geniuses. I imagine them as specified “film, bad, hunched scientists” sitting in their laboratories during the storm and writing scripts: and now let Galadriel jump out of the ship into the ocean and swim in the tide! You don't know where!
I'm sorry, but you can't truly comment on that. Yennefer in the book was a sensual, fit middle-aged female with lavender eyes and bright skin. The author gave her an extraordinary intelligence, a strong character, a cut wit and a sex appeal. Her dialogues with Geralt are simply sensational – brilliant, full of subtexts and above all intelligent. Yennefer on the show is played by a dreamy female with a teen aparity. He doesn't say much erstwhile he does it, his hands are falling down and in all scene he has crying at the end of his nose. Besides, she's just stupid.
Galadriel's Tolkien is the embodiment of the majesty of the queen's elves—wise, dignified, charismatic and stunningly beautiful (in Jackson's superb creation Cate Blanchett). erstwhile individual asks me about strong female figures in literature, Galadriel comes to me as 1 of the first. What do we have on Amazon's show? A strong female figure, and of course – she is strong due to the fact that she swings with a sword larger than herself, parades in disc armor, proves the charge and 1 wave of the wedge puts a immense troll. Besides, she's sussing, annoying, mean, vindictive and stupid—my God, how stupid she is in this show... It is an absolute denial of everything Tolkien's heroes are.
Its main motive for the creator's actions was revenge, which he carries out in successive acts of thoughtless violence, intertwined with stupid issues, possibly leaving his companions to die. In the mediate of the series, I began to support the main antagonist – the commander of the Orcs, whose creators gave charisma, empathy and the desire to improve the destiny of their people as a motivation for action.
This is simply a complete tolkien overturn....
who, as I wrote before, very much ensured that in His literature the question of values was understood even for children who would easy separate heroes from good and bad. Galadriela's serial is specified an annoying book warp, that I virtually thought to myself: kill her! If they already have Tolkien's literature somewhere, why don't they kill her? Unfortunately, we conflict with her until the last episode, which is simply a separate subcategory of moronism and crime on JRR Tolkien. Again – is it possible that this is the consequence of inability and accident? We are talking about the most costly (or 1 of the most expensive) production in cinema past in general – the Amazon show cost $750 million! Do we truly agree that Jeff Bezos had this kind of money in him, and then everyone said, "Well, that's what happened? I don't think so.
Netflix's "Wiedźmin" turned out to be a bit of a failure, and besides had a large budget. The full monster was saved by a truly large Henry Camill, and you know what? After finishing the pictures for the 3rd season, which premiered already this year, the actor announced that he was resigning from the further performance of the "Wiedźmin" and would not appear in the 4th season. He officially gave any formal reasons, of course, but it is known that he had been in conflict with the creators for a long time, due to the fact that as a fan of books and games he simply felt he was active in something terribly weak.
Of course, the scurvy woman, like her Amazon colleagues, besides pointed out guilty – fans – racists, homophobes, misogynists, etc. 1 of the writers even made an entry where Cavill himself blames the failure of the show. It is said that "he constantly interfered and pushed his changes in the script, and, as if it were not enough, women on the set were badly working with him." You realize that these are serious accusations! It was concluded that a full change of actor could be a positive, fresh beginning for the series, which, of course, the creators still, and even more so, will now stick to the origin text.
Ladies and gentlemen, I am not joking – the full “chamber affairs” besides discusses well at home the Lumberwood Manger, giving sources for interviews, and even pasting their fragments into his materials. Despite specified spectacular failures, Netflix not only decides to proceed the series under Mrs. Hissrich's management, but releases another monster from the “Wigmin University” or “Blood Origin”. The drivers of this production give 1 of the writers Witch Declan De Barr and (and surely not otherwise) Lauren S. Hissrich!
I haven't seen it yet, but I can already see from the announcements a certain consequence that I like. Like the Dwarves' Witch, there are dwarves playing here! (Yes, midgets/lylips, as utilized to be utilized to be). It's just a masterpiece. I'd give a lot to witness this brainstorm:
– All right, look – we already have strong women, colorful women, cunning colored men, dumb white guys, LGBTKYZ thread is also... Not quite a few water...
– Yeah, but in a comic book or a book, there were no dwarves!
- Yeah, and...?
– Dwarves, that is specified tiny people, specified dwarfs!
- Dwarfs! This is brilliant!!! Only a condition – the most crucial dwarf must be a female – a dwarf. It'll be a leprechaun!
You can see that all of this cannot be a coincidence. Why, then, was it so decided to overturn these iconic works of fantasy? Why do they request this war? We make a fresh viewer-consumer!
Bartosz Iwicki
photo public domain
Think Poland, No. 5-6 (29.01-5.02.2023)
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