I think you could do a fair bit by following the priest and his soldiers that are chasing Wander more than the game did. He can provide exposition to the soldiers as they travel, seeing more and more pillars of light in the distance as they do so. Have some banter along the way to get us to like one or two or the soldiers as well. Play up this party’s protagonist energy.
In the meantime, let Wander talk to Dormin more. Dormin remains honest and helpful throughout the game, so I think you could easily add in concern for Wander and curioisity about why he’s doing what he is doing. “What a strange, fascinating little mortal. We do hope he knows what he’s doing.”
I suppose you could probably only show maybe three colossus fights max, including the ending. Picking which ones get done in full would be tough. First one almost certainly has to be on the list. I think the giant flying serpent in the desert is probably the best one visually, so that’d be my other pick
I agree, I think it’s feasible. Start with Wander getting to the temple, revealing the bundle on Agro is Mono when he places her on the pedestal. The first words can be Dormin speaking to him. Then cut to the priest leading his men along the path we saw glimpses of Wander taking.
Alternate back and forth, the priest and Dormin doing the talking, with Wander rarely talking, and to Agro when he does. With the focus on Wander adventuring through the beautiful world, interesting visual storytelling with him, Agro, and their travel. And then the fights.
Though I think you need 4. A human-ish one first, a four-legged bestial one, and a flying one, before the final one. Then the priest and crew arrive, and the end happens. I think it all depends on the director.
I’m pretty sure I’ve said it before, but I think Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford,) David Lowery (The Green Knight,) and Nicholas Ashe Bateman (The Wanting Mare,) could all handle a great movie with limited dialogue and beautiful visuals. They might need help with action, but they could hire for that.
I don’t know about the attached director, Andrés Muschietti (It, It: Chapter 2,) but I’m going to try to not judge him by The Flash.
I think you could do a fair bit by following the priest and his soldiers that are chasing Wander more than the game did. He can provide exposition to the soldiers as they travel, seeing more and more pillars of light in the distance as they do so. Have some banter along the way to get us to like one or two or the soldiers as well. Play up this party’s protagonist energy.
In the meantime, let Wander talk to Dormin more. Dormin remains honest and helpful throughout the game, so I think you could easily add in concern for Wander and curioisity about why he’s doing what he is doing. “What a strange, fascinating little mortal. We do hope he knows what he’s doing.”
I suppose you could probably only show maybe three colossus fights max, including the ending. Picking which ones get done in full would be tough. First one almost certainly has to be on the list. I think the giant flying serpent in the desert is probably the best one visually, so that’d be my other pick
I agree, I think it’s feasible. Start with Wander getting to the temple, revealing the bundle on Agro is Mono when he places her on the pedestal. The first words can be Dormin speaking to him. Then cut to the priest leading his men along the path we saw glimpses of Wander taking.
Alternate back and forth, the priest and Dormin doing the talking, with Wander rarely talking, and to Agro when he does. With the focus on Wander adventuring through the beautiful world, interesting visual storytelling with him, Agro, and their travel. And then the fights.
Though I think you need 4. A human-ish one first, a four-legged bestial one, and a flying one, before the final one. Then the priest and crew arrive, and the end happens. I think it all depends on the director.
I’m pretty sure I’ve said it before, but I think Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford,) David Lowery (The Green Knight,) and Nicholas Ashe Bateman (The Wanting Mare,) could all handle a great movie with limited dialogue and beautiful visuals. They might need help with action, but they could hire for that.
I don’t know about the attached director, Andrés Muschietti (It, It: Chapter 2,) but I’m going to try to not judge him by The Flash.