2. February 6, 2012: Five Comic Books You’re Waiting, Wanting, Begging, Longing to See on TV
We’re tired of dreaming for a proper adaptation of Sandman.
Comic books (or graphic novels to those who care) have had plenty of big-screen opportunities, especially in the superhero genre. But many of today’s cutting-edge, literary-minded comics would make even better television. Just as comics have grown more serious and respected in the last few years, so has television – no longer just the bastard child of film, television is now an art in itself, and like comics its writers tell long-form stories that explore characters with depth and complexity. Here are five comic book series that would never fit into the standard two-hour feature film treatment, but would make killer TV.
Neil Gaiman’s seminal 10-volume series seems to defy adaptation. It tells the story of ten god-like creatures who represent the passions that push and pull all conscious life; the main character is the personification of dreams, Morpheus, a tortured wanderer growing weary of his immortality. Surrounding him is an epically sprawling cast of human, animal, and mythical creatures from the past and present.
Accompanying Gaiman’s storyweaving is a phalanx of artists: instead of maintaining a uniform artistic vision throughout the series, Sandman featured a succession of guest artists who illustrated each storyline in their own distinct styles.While many fans of Sandman will likely claim that it’s Gaiman’s inventive storytelling and larger-than-life characters that make this television-worthy material, I’d hold that it’s actually the art that sets it apart from all the other epic fantasy that has been hitting screens lately. Because Sandman is as much about the look as it is about the story, it would be a great opportunity to experiment in a new form of television art: instead of having a team of revolving directors step in to direct episodes in a single style, let a series of directors take each storyline and tell it in their own way. The actors could unify the series, but the visuals would feature the same kaleidescope that made the original comic so unique.
On Demetria, islands of land float in the air above a planet of uninhabitable toxic oceans. City-states built on these islands engage in a medieval push-and-tug of wars and negotiations based on trade and transportation. In a delightfully steampunk flourish, the main mode of transportation between the island city-states are flying galleons which harness the wind in sails for propulsion and steering, while anti-gravity engines keep them afloat in the air.
Meridian‘s publisher went out of business before the story could reach a satisfying conclusion. However, it lasted long enough to prove its potential as a fantasy that could appeal to both young adults and grown-ups, with a light touch. It also had the potential to evolve over several seasons, with a plot that offered many opportunities for development and a solid core cast of characters. The main character, Sephie, is a strong, intelligent female character who avoids both fantasy stereotypes of ditzy damsel and sexy Amazon. Before the series’ cut off, the story already had several promising twists, including mistaken reports of a death, love triangles, and palace intrigue. And any fan of the original, truncated series wouldn’t mind seeing it finally brought to a conclusion on screen.