![]() ![]() ![]() Which means that these stories tend to focus on the more action-oriented parts of the originals. The adapters are trying to distill down the stories to something that's comprehensible to a 10 year old, who generally don't have the life experience to fully comprehend much of the subtexts. Jonathan Swift's social commentary is unsurprisingly absent, as is much of the character interplay from Robert Louis Stevenson and the scientific details from Jules Verne. (The latest are Aladdin and the Magic Lamp, Ali Baba and the Forty Thieves, The Fisherman and the Genie and The Seven Voyages of Sinbad.) Naturally, when you're trying to condense books down for younger audiences, much of the nuances and subtleties are going to be overlooked. I should probably also note that these three books, I believe, were created earlier in the series (all have 2008 copyrights) and publisher Stone Arch has continued since then with other titles. Which, given the differences in the source material, only makes sense. All three comics were adapted by different writers and artists with varying degrees of skill and in markedly different styles. Gulliver's Travels, Treasure Island and 20,000 Leagues Under the Sea. ![]() ![]() "I was curious how they were set up and how the stories were adapted for comics, so I started with the titles where I've read the originals and am most familiar with the source material. ![]()
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