It's not easy to turn a comic into a TV series.
One of the consequences of the success of
The Walking Dead
was the misconception that cartoons are the perfect raw material for television fiction.
Several recent and unsuccessful series prove otherwise.
The work of adapting a comic is not very different from that of a novel.
That with
The walking dead
or with
Legion
it was done in an exemplary way only means that these series have talented people in charge.
People who know how to distill the spirit of very powerful works
that if they were illustrated it was because their stories asked for it.
When these series reproduce images already seen in the original comics, they do so more as a respectful tribute than in a lazy and "compulsory" way.
And when, as in the case of Damon Lindelof's extraordinary
Watchmen
, they assume that adapting is neither copying nor obeying, the results can be even better.
The two adaptations that the masterpiece by Alan Moore and Dave Gibbons has experienced
are good examples of the different ways in which a comic becomes an audiovisual product.
Zack Snyder's movie, mammoth and pottery, is so submissive to Moore and Gibbons that he ends up lacking his own personality.
Instead, Lindelof's series obliquely appeals to the highly original and complex conceptual universe of
Watchmen
.
In this way, rather than translating it into another language, it expands it.
His series is a masterpiece in its own right.
The Snyder movie, no.
DMZ
neither.
The miniseries by Roberto Patino, writer of
Westworld
and
Sons of Anarchy
, adapts comics by Brian Wood and Riccardo Burchielli.
Wood and Burchielli 's
DMZ
is the island of Manhattan, converted in the near future into a demilitarized zone (
DMZ
is short for
demilitarized zone
)
in the midst of a civil war
in the United States.
The iconography of New York has always been very useful in this type of story.
There we have the half-buried Statue of Liberty from
Planet of the Apes
or Will Smith's dangerous walks among ruins in
I Am Legend
.
One of the most successful shots of DMZ shows the state of the Empire State Building's antenna in the problematic future proposed by the series.
But Roberto Patino and, above all, Ava Duvernay, director of the first episode,
prefer to focus on the characters
.
Especially in that protagonist played by Rosario Dawson who gives her all as if she were not aware of the limited nature of the story in which she lives.
Both she and the rest of the characters seem designed to last several seasons, and yet
DMZ
he only needs them during his only four episodes.
With such a short journey, this series should have opted to be something more than the presentation of a world and conflicts.
Paradoxically, one ends up seeing it without wanting more and at the same time understanding that, if there were more, it could be better
.
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