ITT: I rank medias based on their potential to be a stage musical

- One per user until I get to your nomination
- I'll look up the synopsis/summary of each nomination and I can't promise anything more than that (i.e. watching an episode/read a book/play a game/etc.), though I might
- If it's already been adapted to a musical I'll either skip it or rank it separately (if I'm familiar with the musical)

Star Trek: Deep Space Nine
Season 6
Far Beyond the Stars

I think itd be aces if you do indeed watch it, time permitting. The acting from Avery Brooks is the big draw.

Homestuck

Kingdom Hearts

gideon the ninth

Homest-
Hbthebattle posted...

Homestuck

Damn it.

Disco Elysium

Dead Space

Belladonna of Sadness

God of War

Unsong

Big Rigs: Over the Road Racing

Rule of Rose

Among Us

The Matrix

inb4 one exists

Final Fantasy XV

GameFAQs Character Battle X (2018)

Skies of Arcadia

Metroid

Doctor Who

Persona 4

Great Ace Attorney

Rush Hour

Secret of Mana

Monkey Island

Watchmen

Portal 2

Ghostbusters

banananor posted...

gideon the ninth

not the topic creator but this would be magnificent

Wolverine

Salo, or the 120 Days of Sodom

Star Trek: Deep Space Nine S6E13 - Far Beyond the Stars
I actually gave this a watch since it's available on Netflix. I did put it on 1.5x speed for the second half though.

From Wikipedia:
Set in the 24th century, the series takes place on Deep Space Nine, a space station adjacent to the galaxy's only known stable wormhole. In this episode, Captain Benjamin Sisko is worn down by the stress of the Dominion War. During a visit from his father, he experiences dream-like visions of being an African-American science-fiction writer facing racism in mid20th century New York City. The main cast of the series, along with several recurring cast members, portray 20th-century humans in Sisko's vision; those who play alien characters appear in this episode unusually without their alien costumes and makeup.

So this one is tricky. It's lovely, but it needs the context of the actual sci-fi setting and characters to fully appreciate it. I never watched any Star Trek episode before so I couldn't really tell who's analogous with who.

As for the story itself, it's simple but effective. Captain Benjamin dreams that he was a sci fi writer in mid 20th century and faces racism. The main conflict is about whether or not the magazine will print his story -- about a black space captain. People are fine with men on Mars but not black men. Just like how they are fine with white men as writers, but not women or black men.

It's gripping and hard hitting, yet has an uplifting ending since it was all a dream and he really is a black space captain in the 24th century.

There are subplots - about his girlfriend who wants Ben to stop being a retire and run a diner with her, a young friend who gets in trouble with law enforcement, and a big name baseball athlete who tries to flirt with his girlfriend. These definitely have potential to be expanded in a full musical format. The girlfriend in particular is ripe for an I Wish song like Somewhere That's Green.

I think it's got a solid hook and characters, there are already even some singing! The main challenge would be to portray the duality. How much time should be allocated to the future parts so the past parts would land well? I think it can be done but with a lot of workshopping and edits.

There are also scenes where Ben's writer character has split-second flashes to the future, which would need some creative solutions -- perhaps projection mapping?

Potential break out number: It's The White Man's World (solo ballad by writer!Ben when his idea first got rejected)

Homestuck
As someone who spends a decent amount of time on the internet, I'm vaguely aware of Homosuck-- I mean, Homestuck, and its reputation of course. I tried reading it once but didn't get very far. I do enjoy the interactive format which was in the vogue around that time (shout out to FAH's You Are Now).

Wikipedia summary:
Its plot centers on a group of teens who trigger the inevitable destruction of Earth by installing the beta version of an upcoming PC game, Sburb. The teens soon come into contact with a group of Internet trolls who are revealed to be horned aliens, and these trolls work with the kids to create a new universe by completing the game. It has been noted for its complex and nonlinear plot, considerable length at over 8,000 pages and 800,000 words, and intensely devoted fan community.

I think I watched a YouTube video that tried to explain the plot and yeah I remember it being super convoluted with the different timelines and stuff.

As for the story itself, it's got that offbeat humor and plot that might alienate older audiences but would do well with Millenials and Gen Z. It has the potential to be popular like with Be More Chill or Ride the Cyclone. Especially since it's got a built-in audience and all.

So the main challenge would be how to condense it down to a musical. Probably just stick to one main plot while alluding to the rest? I think it'll need a lot of work and might work as a fringe type show. Post clips on it on the internet, build more hype, and it might transfer to Off-Broadway.

Potential break out number: Brand New World (group number by the kids and trolls when they finally create a new universe )

Kingdom Hearts
Now, this I'm familiar with. I don't think a synosis is necessary here.

Kingdom Hearts's story is optimistic at its heart and quite dramatic, what with the light vs. darkness angle and big personalities. Also, it's Disney. It's easy to imagine it as a musical at a surface.

But the hard part would be how to fit in everything. It might need to be in 2 parts like Cursed Child or Angels in America, but that's kind of unheard of for a musical.

Of course you can always condense each world, but that's not really fun. The main draw of KH is probably the Disney crossover and spending time with the beloved childhood characters. It just wouldn't work well if we only spend like 3 minutes at each world, or make it a montage. And if we include the Disney characters, the audience will for sure expect at least some of the iconic songs to make it in. If there's no Part of Your World or A Whole New World, people will riot.

I think KH is too unwieldy and has too much Disney baggage to be as an effective musical.

Potential break out number: Light and Darkness (a climactic counterpoint duet by Sora and Riku a la Confrontation from Les Mis)

Broadway Hit in the Making

Out of Town Tryout
Star Trek: Deep Space Nine S6E13 - Far Beyond the Stars

Fringe Festival Darling
Homestuck

Perpetual Concept Album
Kingdom Hearts

Scrapped Notes

Monsters Inc

I love this topic.

Aww yay! Thank you so much for watching the episode and providing your thoughts, Raka! Youre totally right about a core appreciation and understanding for the characters and their (usual) setting being integral to getting the most out of the episode. I briefly considered nominating something else as a result but I couldnt shake the sensation that it would make for a fairly fun analysis.

<3

banananor posted...

gideon the ninth

Never heard of this before.

Gideon the Ninth

Wikipedia summary:
In the star system Dominicus, there are nine planets, each home to a great House which practices its own school of necromancy. The Houses in turn are ruled by the Emperor, an impossibly powerful, immortal necromancer whom they have worshipped as a god for the past ten thousand years. At the start of Gideon the Ninth, the Emperor invites the heirs of the Nine Houses and their sword-wielding bodyguards (called cavaliers) to undergo a series of trials to become Lyctors -- revered and immortal necromancers who serve as the Emperor's right-hand against his enemies.

So I read the synopsis and, yeah, this can work.
It immediately sets up the compelling main relationship. Our protagonist is Gideon (who's female despire her name) who has to become the cavalier to the Ninth House's heiress, Harrow. The problem is, Gideon and Harrow are enemies who hate each other. But Gideon is the only cavalier candidate since all other children her age died in a purported disaster.

This duo then has to compete with other necromancer-cavalier pairings from the other houses to discover the secret between Lyctorhood (i.e. becoming powerful royal necromancers). There's intrigue, some lesbian romance, and a climactic moment that would surely make the audience gasp. Major Spoiler: The necromancer has to extract and devour their cavalier's soul to become a Lyctor.

Also apparently the writing itself mixes gothic horror with contemporary humor and an irreverent tone. So yeah, a lot of potential there.

My two concerns are how to depict the fantastical action scenes and that the ending is not that conclusive, since it's the first book in a series. But if it can get a good art director and some edits to the ending, I can see it doing really well. It also might become one of those musicals where the ending is happier than the source material.

Potential break out number: Meet the Heirs, an introductory group number that showcase the different heirs and their cavaliers.

Disco Elysium
Well... I've played Disco Elysium but I haven't finished it so sadly I will refrain from reading the full plot, but I'll give it my best shot. I also picked up a thing or two from memes and fan arts over the years.

Wikipedia: Disco Elysium follows a troubled detective waking up from a hangover with no memory of who he is, or of the world around him. As he investigates a murder alongside a detective from another precinct, the player can also piece together the protagonist's own identity and discover what led him to this state.

So a big part of Disco Elysium's appeal comes from the multiple choices offered by the protagonist's aspects as well as his inner thought. I don't think there's a good way of translating it for the stage without heavily simplfying it, sadly.

However, if we don't aim for mainstream success, it can work as an experimental piece of short. Maybe each of the aspect and their voices in the protagonist's head can be played by the ensemble a la Greek Chorus.

Its examination of clashing ideologies (i.e. capitalism and communism), the complex characters, and the richly detailed world are all fascinating. They can put some asses in the seats for sure, but probably not enough for a prolonged run or a big theater.

Just like the game, I can see it becoming a cult favorite of sorts. Hopefully the copyright wouldn't be as messy though.

P.S. Kim Katsuragi is definitely a role that can get 'Best Supporting Actor' nominations.

Potential break out number: Nobody (the closer for Act 1 where the protagonist tries to put together his identity while reviewing what he knows about the case... it doesn't go well and he has a break down)

Dead Space
I think I played the first few minutes of this game, although I can't remember when. My PS3 probably?

Anyway, here's the synopsis:
Set on a mining spaceship overrun by deadly monsters called Necromorphs following the discovery of an artifact called the Marker, the player controls engineer Isaac Clarke as he navigates the spaceship and fights the Necromorphs while struggling with growing psychosis.

Horrors and sci-fi are always difficult genres for musicals. They don't mix too well. Especially horror. The successful ones are either campy (Little Shop of Horrors, Rocky Horror Show, Evil Dead) or more psychological (Carrie, Sweeney Todd).

In Dead Space, well, there's an element of psychological horror as well since the MacGuffin (called markers) can induce hallucination and psychosis. But for the most part our protagonist, Isaac, really do fight zombies. He doesn't even interact much with the other characters since the communication is mostly done through, uh, communicators.

I guess you can take the parody route, but then the tragic reveal late in the show wouldn't land right. I don't think Dead Space is prime material for a musical adaptation, but let me know if you have an idea for it!

Potential break out number: Major spoilers Your Hand (Reprise) (Isaac's Heroic BSOD song at the end when he realizes the Nicole he's been seeing is just part of the halluciantion)

Broadway Hit in the Making
Gideon the Ninth

Out of Town Tryout
Star Trek: Deep Space Nine S6E13 - Far Beyond the Stars

Fringe Festival Darling
Homestuck

Perpetual Concept Album
Kingdom Hearts
Disco Elysium

Scrapped Notes
Dead Space

SaveEstelle posted...

Aww yay! Thank you so much for watching the episode and providing your thoughts, Raka! Youre totally right about a core appreciation and understanding for the characters and their (usual) setting being integral to getting the most out of the episode. I briefly considered nominating something else as a result but I couldnt shake the sensation that it would make for a fairly fun analysis.

<3

You're welcome! Yeah it was a fun episode even without me really knowing what the everyone's deal is, so I imagine it'll be even better for fans of the series. The parts set in the past were really well-written.

Raka_Putra posted...

Disco Elysium

So a big part of Disco Elysium's appeal comes from the multiple choices offered by the protagonist's aspects as well as his inner thought. I don't think there's a good way of translating it for the stage without heavily simplfying it, sadly.

You know what it would work well as? An improv comedy show. I saw a show called, iirc, Shear Madness, where there's a murder that takes place at a barber shop and in the second act the two investigators take questions from the audience in order to interrogate the suspects. This has that vibe to me.

The Room

Super Mario Bros. 3

Ghost Trick

Planet of the Apes

Raka_Putra posted...

My two concerns are how to depict the fantastical action scenes and that the ending is not that conclusive, since it's the first book in a series.

Thanks for ranking! I agree- there's a lot of media where I enjoy the core dynamics and character interactions, but depending on what form it takes (book, movie, show, game, etc) there can be a looot of stuff (some- like action- might be considered padding, others- like an inner monologue- might be considered a luxury) that doesn't translate well into other forms. My understanding is that in plays pretty much all action is abbreviated- we only really care about who wins anyway

Side note- I didn't know you enjoyed musicals. Do you have a few favorites to give a sense of what you like?

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Xeybozn posted...

Belladonna of Sadness

So uh... spoiler alert first

From Wikipedia: Belladonna of Sadness is a 1973 Japanese adult animated drama film. It follows the story of Jeanne, a peasant woman who makes a faustian deal with the devil after she is raped by the local nobility on the night of her wedding day.

This story is even crazier than the premise. There's lots of violence and sex, ups and downs, and it all feels rather psychedelic thanks to the 'spirit' (who's actually the Devil). Jeanne herself becomes a money lender, cures a plague, presides over the village's orgy, and so much more.

Overall, the story is very messy and I think that's the biggest obstacle for a musical adaptation. There's not a clear arc or a major goal that can help streamline the story.

Then again, after pondering it a bit more, this is kinda giving me Rocky Horror Show. There's also very little plot on that one, and it's also quite psychedelic, violent, and full of sex.

But the main difference is that Jeanne's role in the story is very hard to grasp. Sometimes she seems powerful, as she's got money and supernatural powers from the Devil. But she's also easily driven away by the Baron and eventually caught and set on fire. It feels that a lot of things happen but without clear flow or cause-and-effect.

Also, the tone. In Rocky Horror everything is campy and farcical. I'm not getting that from Belladonna of Sadness.

Oh but the visuals are super pretty and distinct though.
https://gamefaqs.gamespot.com/a/forum/2/24a07b97.jpg
In fact, I'd say animation is already the best possible medium for it.

I guess it can be a musical, but it'll lose more than it gain. If it's adapted, I imagine it'll be very artsy . The confusing sequence of events will be even more confusing, the songs probably symbolic and dissonant.

It'd need a very talented and passionate team. And even then, it probably wouldn't work too well.

Potential break out number: Girl on Fire/Finale (the final number where Jeanne is burnt at the stake yet she stays proud and defiant, followed by the female ensemble becoming Jeannes, and how she influenced the French Revolution)

Johnbobb posted...

God of War

I assume this is the original?

The player controls the protagonist Kratos, a Spartan warrior who serves the Olympian gods. The goddess Athena tasks Kratos with killing Ares, the God of War and Kratos' former mentor who tricked Kratos into killing his wife and daughter. As Ares besieges Athens out of hatred for Athena, Kratos embarks on a quest to find the one object capable of stopping the god once and for all: Pandora's Box.

I played this back in the day, but once again I didn't get very far.

Actually, after reading the full story, it's got a nicely digestible structure. I can easily see the musical starting with the flashback with Kratos' days as a Spartan captain and the tragedy with his family. There's a strong motivation, an obvious immediate goal -- getting the Pandora box -- and some twists.

There's even a good stopping point for Act 1: right after Kratos retrieved Pandora's Box and Ares attacked him, sending him to the Underworld. A good nail biter that will keep the audience intrigued during intermission.

Now, the main challenge is simply the lack of characters. Kratos mainly fights enemies, like Isaac. He probably has less supporting characters to meaningfully interact with even compared to Isaac. If this were the 2018 one, we'll have Atreus at least. I guess we can make it so we show Ares and Athena fighting elsewhere but that only goes so far.

Secondly, and related to the above point, Kratos is just not a very emotional character, at least outwardly. If he gets the majority of the stage time, it'll be hard to justify him singing all the time.

Finally, the ending is a bit awkward. Major spoilers ahead

Athena tells Kratos that although his sins are forgiven, the gods cannot erase his nightmares. Forsaken by the gods, he tries to commit suicide by casting himself into the Aegean Sea, but Athena intervenes and transports him to Mount Olympus. As a reward for his services to the gods, Athena provides Kratos with a new set of blades and the seat as the new God of War.
Like, that's a roller coaster of emotion in a sequence that will probably take like 10 minutes at most.

And after his triumph over Ares, now Kratos is in an emotional low point. Which is still probably okay as we can get a good sad reprise here, but then he tries to off himself... only to be saved by Athena and crowned as the new God of War? Is the ending triumphant? Bittersweet? Does Kartos even want this? It will be a weird note for the audience to leave the theater with.

Still, these are not insurmountable obstacles, but they do need addressing in a way that can still work with the story's overall plot and tone. If only Atreus were here.

Potential break out number: All for Naught (a heartwrenching ballad sung by Kratos as he realizes that the visions of his late family will still haunt him despite all the bloodshed he went through)

Broadway Hit in the Making
Gideon the Ninth

Out of Town Tryout
Star Trek: Deep Space Nine S6E13 - Far Beyond the Stars
God of War

Fringe Festival Darling
Homestuck
Belladonna of Sadness

Perpetual Concept Album
Kingdom Hearts
Disco Elysium

Scrapped Notes
Dead Space

banananor posted...

Thanks for ranking! I agree- there's a lot of media where I enjoy the core dynamics and character interactions, but depending on what form it takes (book, movie, show, game, etc) there can be a looot of stuff (some- like action- might be considered padding, others- like an inner monologue- might be considered a luxury) that doesn't translate well into other forms. My understanding is that in plays pretty much all action is abbreviated- we only really care about who wins anyway

Side note- I didn't know you enjoyed musicals. Do you have a few favorites to give a sense of what you like?

Yeah, I agree. I find the different strengths and weaknesses of different storytelling mediums very intriguing. As for all action is abbreviated, mostly yes, though depending on the director they might want to flex by staging spectacular action sequences instead. Like I heard Cursed Child leans heavily into the spectacle of its magic battles.

And yes, I love musicals! I'm writing as a regional contributor for a US-based musical theater website and I've produced several community productions.

My favorites include Legally Blonde, Into the Woods, Come From Away, Company, Matilda, Rent, and The Last Five Years. I like most musicals I've watched/listened to though.

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Thanks for the bump.

Crazy busy few days with a 7-hour train ride for a game event + the event itself + now a family event and a theater show in the evening.

Full Metal Alchemist