Collaboration | Lecture [7] Adaptation

Edge of Tomorrow (2014)

Fig. 1

'Edge of Tomorrow' (2014) is an American sci-fi, action film directed by Doug Liman, and written by Christopher McQuarrie, Jez Butterworth and John-Henry Butterworth, as inspired by pre-existing novel 'All you Need Is Kill' (2014); a manga written by Ryōsuke Takeuchi and illustrated by Takeshi Obata, adapted, already, from Hiroshi Sakurazaka's original Japanese novel (2004). 

The original novel was inspired by an online discussion around the element of 'trial and error' within video games, as allowed by the game mechanics of 'restarting' and 'saving'. This aspect of video gaming, (and existing texts that explore repeating plot structure; i.e. 'Groudhog Day'), has since been transcribed and adapted onto the film platform. An interesting place of discussion, since film lacks the degree of interactivity typical of video games.
In this regard, it could arguably take away from this discussion, and work against films. Particularly those which adapt from popular video games.
However, it does add to the source material, as we see, without this mechanic of interactivity, we- the audience- begin to recognise and analyse this element of play we are accustomed to, from an outsiders point of view. We begin to recognise the existence of very platform itself, and the rules we associate with it.
Thus adapting from a novel about the game mechanic (which already successfully explores this theme on a relatively limiting platform -a book), and transcribing this game mechanic into the story plot itself (and the way in which the narrative continuously loops back to provide the story), means the 'Edge of Tomorrow' work successfully at acknowledging 'trial and error' in video games.

Similar to the main protagonist, Cage, we find out the outcome of certain scenarios as he progresses throughout the story. Incidentally we start rooting for him, and experience the same level of uncertainty. If we were able to see what was to happen, we may have got frustrated at our inability to influence the outcome, or interact with the story (as you would game). 

Other things 'Edge of Tomorrow' adapted was Cage, from a lowly grunt with no power of influence, to a Lieutenant Colonel who's then forced to fight as a soldier on the front line. 

Both versions enforce the 'hero's journey' complex, but 'Edge of Tomorrow' arguably works with it more, as Cage goes from his equilibrium of non-fighting, to a disequilibrium wherein he must learn the rules of the new world, and the new equilibrium where he stops fighting, but only after experiencing it. 

In terms of themes of 'power', he goes from possessing social influence, to a place where no-one listens. The 'repeating' mechanic then gives his power over events.

Alternatively, Keiji Kiriya didn't have any power to begin with, before ending up as a hero of the United Defence Forces. 

The recognition of 'platforms' and 'reality' is evident in 'Edge of Tomorrow', as Cage experiences events familiar in gaming ("go put on this armour, and you'll go kill aliens, and it'll be fun"), but with a more realistic response of dread and horror. The fact we (the audience) can be entertained is because we are fighting in games, using an avatar and are not directly involved ourselves. Having this rule be present in the film brings it to our attention. We automatically root for Cage, but Cage wants nothing to do with the conflict. He exists, as a conscious mind- a character in film that isn't influenced by the viewers, while game avatars are essentially the players themselves, playing through the screen. 

Other differences include the exploration of themes around the character's emotional turmoil. 

'Edge of Tomorrow' does this, as Tom Cruise's 'Cage' begins to give up on all hope mid way through the film when he's unable to save Rita. 

However, the original manga itself does this very early on, with Keiji committing suicide at the horror of experience the battlefield on his third loop. The fifth loop is when he's certain of his predicament. Alternatively Cruise's 'Cage', knows almost immediately, possibly for purpose of time (a novel is a platform that allows itself to mould around a reader's schedule, while a film is typically watched outright).

There's a big emphasis in 'All you Need is Kill' on the number of times he's experienced the loop, while the 'Edge of Tomorrow' see's the audience at a loss. In that regard, 'Edge of Tomorrow' helps enforce this despair, and the dynamic between Rita and Cage (with Rita unsure on the amount of times Cage has died, and Cage not feeling the need to say, since the day will only undoubtedly start over).

For reasons of time, we also don't get as much insight into character backstory (especially with Rita).

All in all, the platforms of each adaptation both enforce and dismiss certain elements of the story accordingly. With the book being more of a long term commitment, and the film only an hour and 53 minutes long, this means the story must be adapted so to fit the viewer's understanding, and the very platform itself. 

The film is considered "underappreciated", despite making a gross in the USA of $100,206,256, though often regarded positively in its adaptation. As a film whose advertising avoided "driving off viewers who just want the bang bang- boom boom" (Seitz, Matt Zoller, 2014), the story and characters allow for some more conceptually enjoyable discussions around time-loops, and it's presence within entertainment. The game mechanics presence in the narrative is cleverly dealt with so not to bore the viewers, and information to halted accordingly later on so to allow us to "figure things out on our own" (Seitz, Matt Zoller, 2014). As a whole, it tackles the themes successfully, despite its limitations as a platform. 

Fig. 2

References

Illustrations

Fig .1 'Edge of Tomorrow DVD Cover', (2014), [Online Image]. Available at: https://images-na.ssl-images-amazon.com/images/M/MV5BMTc5OTk4MTM3M15BMl5BanBnXkFtZTgwODcxNjg3MDE@._V1_SY1000_CR0,0,674,1000_AL_.jpg [Accessed Date: 15/12/2017].

Fig. 2 'All You Need Is Kill Book Cover', [Online Image]. Available at: http://cdn.collider.com/wp-content/image-base/Movies/A/All_You_Need_Is_Kill/all_you_need_is_kill_book_cover_01.jpg [Accessed Date: 15/12/2017]. 

Websites

Barder, Ollie (2015), 'The Mange Of 'All You Need Is Kill' Is Everything 'Edge of Tomorrow' Should Have Been', [Online]. Available at: https://www.forbes.com/sites/olliebarder/2015/11/01/the-manga-of-all-you-need-is-kill-is-everything-edge-of-tomorrow-should-have-been/#6175868b78e6 [Accessed Date: 15/12/2017]. 

Hornyak, Tim (2014), 'Meet the Japanese author behind Tom Cruise's new sci-fi smash', [Online]. Available at: https://www.japantimes.co.jp/culture/2014/07/12/books/meet-japanese-author-behind-tom-cruises-new-sci-fi-smash/ [Accessed Date: 15/12/2017]. 

'IMDb', (2014), 'Edge of Tomorrow', [Online]. Available at: http://www.imdb.com/title/tt1631867/ [Accessed Date: 15/12/2017]/ 

Jolin, Dan (2014), 'Edge of Tomorrow Review', [Online]. Available at: https://www.empireonline.com/movies/edge-tomorrow/review/ [Accessed Date: 15/12/2017]. 

Robey, Tim (2014), 'Edge of Tomorrow, review: a gripping time-loop', [Online]. Available at: http://www.telegraph.co.uk/culture/film/filmreviews/10862244/Edge-of-Tomorrow-review-a-gripping-time-loop.html [Accessed Date: 15/12/2017].

Seitz, Matt Zoller (2014), 'Edge of Tomorrow', [Online]. Available at: https://www.rogerebert.com/reviews/edge-of-tomorrow-2014 [Accessed Date: 15/12/2017].

Videos

'CineFix', (2017), 'Edge of Tomorrow/ All You Need is Kill- What's the Difference?', [Video]. Available at: https://www.youtube.com/watch?v=AY5sslMij7k&t=303s [Accessed Date: 15/12/2017]. 

'Warner Bros. UK', (2014), 'Edge of Tomorrow- Doug Liman Interview', [Video]. Available at: https://www.youtube.com/watch?v=mey6m5iTbto [Accessed Date: 15/12/2017].