Why do Japanese live-action adaptations appear to have extremely similar artistic direction to their manga/anime source material?


It is possible that my premise is extremely flawed, but I have noticed in
recent times that there are quite a few live-action adaptations of Japanese
anime or manga that look very similar in visual style to their source
material. For example, I recently saw a trailer for the Japanese film
[Parasyte](http://en.wikipedia.org/wiki/Parasyte:_Part_1), which is based on a
manga. Many of the scenes from the trailer look identical to parts of the
manga, and the appearance of the parasites is identical to the original
artwork. I also saw the movie trailer for [Attack on
Titan](http://en.wikipedia.org/wiki/Attack_on_Titan) and the titans in the
film look identical to those in the manga and anime. There are quite a few
other examples that I've encountered that I cannot list right now.

In Hollywood, even when animated material is adapted to live-action, usually
the artistic direction is quite distinct between the two. Some of Marvel's
latest superhero movies borrow a lot from their comic book material, but even
then their visual style is quite distinct from the "comic book" look. The film
adaptation of [Watchmen](http://en.wikipedia.org/wiki/Watchmen) was
_extremely_ similar in both plot and artistic direction to the graphic novel
and it was critically panned for this, which leads me to believe that it is
somehow deemed unacceptable to do this for Western graphic novels.

Is there a reason why the live-action adaptations of manga are so close in
appearance/artistic direction? Or is it just my limited experience?




I probably have not watched enough live-action drama TV series and film
adaptions of manga to verify whether or not they do, for the most part, bear
extremely similar artistic direction to their manga/anime source material;
however, this is not surprising if it is indeed the case.

The reason it is not surprising is that Japanese culture values sticking with
tradition and establishing traditions. This is why their traditional arts such
as [tea ceremony](http://en.wikipedia.org/wiki/Japanese_tea_ceremony),
[ikebana](http://en.wikipedia.org/wiki/Ikebana), [kimono
manufacture](http://en.wikipedia.org/wiki/Kimono#Textiles_and_manufacture),
and [sumi-e](http://en.wikipedia.org/wiki/Ink_wash_painting) painting are not
interested in "innovation" but rather pride themselves in remaining unchanged
in technique and materials/tools.

Most Japanese companies follow a tradition of doing things procedurally as
they have been done up until now; they are generally averse to streamlining,
experimenting, and risk-taking (this is the launching point for the plot of
the TV drama [「フリーター、家を買う。」](http://wiki.d-addicts.com/Freeter,_Ie_o_Kau.) [
_Part-Time Worker Buys a House_ ]: Take Seiji quits his job after only 3
months because his company will not allow any newbies to suggest improvements
to make operations more efficient).

The [Takarazuka Revue](http://shoujo.tripod.com/takara.html) all-female
theatre company has [adapted a number of
manga](http://shoujo.tripod.com/takaramusicalmanga.html) titles into stage
musicals. Once they create choreography for the musical, it becomes tradition
and every single performance of the same show must be danced using the exact
same choreography as the first production. A prime example is _Versailles no
Bara_ , which has, arguably, very out-dated, over-dramatic and poorly-
choreography dances and battle scenes from the very first production in 1974,
but despite adapting the manga into a variety of
[perspectives](http://en.wikipedia.org/wiki/The_Rose_of_Versailles_musicals)
(i.e. Oscar and Andre version, Oscar version, Andre version, Fersen and Marie
Antoinette version, Girodelle version, Alain version, Bernard version, etc.),
no dance moves can be revised for the
[revivals](http://www.animenewsnetwork.com/news/2005-11-02/rose-of-versailles-
revival) (when the company stages the show again for a new run with a new
cast).

In this vein, for live-action adaptions of manga to attempt to replicate with
live actors the scenes and "camera angles" that the mangaka made and which the
fans already love matches Japanese tradition. Another way to think of it is
loyalty. Japan has a solid history of respect for _doujinshi_ and other
_doujin_ works, so if you want to take someone else's work and adapt it
liberally, you are free to do that ([some](http://17th-
angel.tumblr.com/post/45418445861/doujin-download) professional
[mangaka](http://three-lights.net/gallery/strawberry-lunch/strawberry-candle)
do draw _doujinshi_ of [manga by
others](http://en.wikipedia.org/wiki/Clamp_%28manga_artists%29#Before_their_debut_.281980s.E2.80.931989.29));
if you want to make an official adaption, it makes sense to be true to it and
meet fan expectations and hopes.

Another aspect of Japanese culture is the concept of accuracy, meticulousness,
and painstaking attention to fine details. Although Japan does not invent as
many products as some other countries do, they have a tendency to take someone
else's invention and greatly improve upon it in small details (for example,
the automobile) and have thus gained a global reputation for quality
technology. This penchant for aiming for precision and correctness would also
lend itself to depicting a beloved work as respectfully and exactly as
possible.

