The best work of some of the best creators, especially movie directors, happens when the creators are tested by someone else’s source material, where they aren’t allowed to indulge themselves with carte blanche resources and instead show restraint in their skill and craftsmanship. Perhaps Stanley Kubrick’s best work really is his adaptation of Vladimir Nabokov’s Lolita, and Quentin Tarantino’s best work is Jackie Brown, his adaptation of Elmore Leonard’s Rum Punch–both studies in how to create a perfect film. Although 20th Century Fox obviously wasn’t ready for it, William Gibson, known for “cyberpunk,” actually handled his screenplay for the third Alien movie quite well, but it was summarily discarded. Next month, dressed up and fleshed out is Pat Cadigan’s Alien3–The Unproduced, First-Draft Screenplay by William Gibson: A Novel. Pre-order Cadigan’s novel adaptation now here at Amazon. Readers will find no cyberpunk here, but what Gibson handed in was a better Alien franchise story than what became Alien3, not quite Alien or Aliens, but still one great thriller. Understandably, however, the script was rejected by the studio for missing a key feature that couldn’t be overlooked.
Alita: Battle Angela could be just another space-age story. It’s full of cyborgs (we love’ em), but it’s not standard fare for frequent sci-fi movie buffs and sci-fi readers. Without the “distraction” of Robert Rodriguez’s special effects, you can really get to the heart of the movie’s story by going to the underlying source work it adapts, or in this case, its novelization,Alita: Battle Angel–The Official Novelization, by author Pat Cadigan, who also wrote last year’s Harley Quinn–Mad Love, reviewed here at borg. The film is an adaptation of the manga Battle Angel: Alita by Yukito Kishiro, a story about self-discovery and empowerment via a centuries-old human brain that finds its way into the cybernetic body of what looks like a teen girl. The film changes enough from the manga, incorporating several new characters and conflicts, that the novelization and film stand apart from Kishiro’s manga. So how does the new story fare?
Above all, the biggest surprise is that Alita: Battle Angel–The Official Novelization is in every way a young adult novel, based on its protagonist, story structure, and the author’s writing style. In fact the film may have missed a niche audience–as the studio targeted adult sci-fi buffs instead of fans of stories like the Divergent series, Twilight, The Maze Runner series, City of Ember, and Ender‘s Game. Even more on-point, Alita: Battle Angel follows the same emotional highs and lows of The Hunger Games. Both The Hunger Games and Alita: Battle Angelare teen heroine updates to both Rollerball(1975) and The Running Man (1987), but like some of the best science fiction they are also remakes of the oldest of them all, Frankenstein, and its descendant Pinocchio. Blend these four popular stories together and you can understand why James Cameron prepared 600 pages of development material for the Alita project he would ultimately produce into the film.
Pat Cadigan′s storytelling is a mirror of the writing style and pacing of The Hunger Games’ novel writer, Suzanne Collins. In a significant way, Alita: Battle Angel is a teen romance, a romance between Alita–an amnesiac cyborg who is primarily robotic but has a human brain–and her newfound human boyfriend Hugo. Hugo is a street kid who helps her learn who she wants to be and how to survive on the streets of a futuristic Earth where everyone who isn’t a cyborg is mugging cyborgs to steal their parts and swap them for cash. As with Katniss and Peeta in The Hunger Games, Alita and Hugo fall in love as they help each other and work together when faced with an onslaught of ever-increasing impediments to their survival. And yes, this is another superheroine with a problem like the heroine in the new Captain Marvel movie.
It’s not every day the creator of a character has the opportunity to return to re-write that character’s origin story. Paul Dini has done that in a new novel co-written by Pat Cadigan called Harley Quinn: Mad Love, based on his one-shot graphic novel from 1994. Those who know Harley Quinn from cosplay, the Suicide Squad, or her popular costumes as merely The Joker’s sidekick will find a much darker story of life inside a mental asylum–DC’s Arkham Asylum–which has all the elements of 1950s true-life horror stories. Mad Love presents a young woman on her path to become more dangerously violent–this is Harley less humorous and quirky than the animated series version of the character.
Fans know this already, but for those who don’t: Harley Quinn is a character created in 1992 by Dini and Bruce Timm, with a name that is a shortened version of the created names “Harleen” and “Quinzel” (derived from the word harlequin), to add a female character to Batman tales named consistently with the names of a long line of popular DC villains. Mad Love is a character origin dissimilar to standard comic book origin fare, and something different from the goofy sidekick and romantic partner of The Joker readers will find in more recent stories. As a child, Harleen likes her father, who works long hours, and resents her brothers and mother. Her father turns to crime, distancing her from her family. She picks up gymnastics along the way, and is successful enough to make the Olympics, but doesn’t. Instead she takes to trying to use her knowledge of psychiatry from college to do some good. Unfortunately she chooses Arkham Asylum as her starting point. Her intelligent but distracted mentor trusts her, but once Quinzel starts breaking the rules of psychiatry, it’s a slippery slope, culminating in a career-ending decision.
Mad Love reveals a thinly crafted background for a popular character’s origin story. Here she is shown as single-layered: weak, easily manipulated by everyone she encounters, and she can’t get past thinking like a child, despite going to college, despite getting a degree in psychiatry. She shows the reader how little she learned when she tries too early in her career to take on The Joker as a patient. As the ultimate villainous mastermind of this DC universe, The Joker finds it easy to twist her into a tool of his escape. Yet all along she acts the part of doting girlfriend, never realizing she was never his girlfriend in the first place–she is defined by her poor choices. The Joker even let’s her know, but she likes him anyway.
