Oshi no Ko Season 2: The Woes Of Adaptation

Highlights

Making adaptations is complex – intentions can result in misunderstandings; communication is key.
Lack of clear communication led to a script overhaul request, causing tension in production.
Criticism and blame can lead to fallout – proper communication is crucial to avoid misunderstandings.

As a fan of Oshi no Ko, I can’t help but feel deeply sympathetic towards all parties involved in the production of this stage play adaptation. The lack of clear communication and misunderstandings between Abiko Samejima, GOA, and Sumiaki Raida have resulted in an unfortunate fallout that threatens to derail the entire project.

What follows reveals plot points from the second episode of Oshi no Ko, titled “The Telephone Game,” currently available on HiDive. Proceed with caution if you prefer to be surprised in the series.

As a dedicated gamer immersed in the world of Tokyo Blade, I can’t help but feel a pang of excitement when I hear that mangaka Abiko Samejima is coming to observe our rehearsals for the upcoming stage play adaptation. However, my enthusiasm turns sour as I sense her displeasure and growing frustration. Unfortunately, her bluntness and intense devotion to her work result in an explosive verbal outburst instead of a calm discussion. If we don’t find a way to address her concerns, the entire stage play production could be at risk.

As a devoted fan of “Oshi no Ko,” I’m excited about the latest episode that delves into the intricacies of creating adaptations and the potential disconnects that can arise between creators and audiences. Adapting works can be an intricate process, and there isn’t one definitive solution to getting it right. Instead of pointing fingers, we should recognize that misunderstandings often stem from unforeseen complexities rather than intentional mishaps.

Before The Fallout

Abiko Samejima’s Odd Personality

Oshi no Ko Season 2: The Woes Of Adaptation

Following her shocking proposal, we go back in time to the initiation of the “Tokyo Blade” production, where Aqua, Kana, and Melt reunite with Lala Lai’s cast members for the first time. Melt, having been humbled by his experiences on “Sweet Today,” is now eager to enhance his acting skills, while Kana simmers with anger over Aqua and Akane’s romantic involvement, but puts on a brave face. After formalities are exchanged, the actors dive into rehearsal preparations.

In another part of the city, Abiko and Yoriko head out for a drink together. During their conversation, Abiko shares stories about her achievements and professional progress. Later on, she invites Kichijoji to join her in observing the upcoming rehearsals. As they get ready to move to a new location, Abiko steps away to freshen up by brushing her teeth. While waiting for her return, Kichijoji ponders over Abiko’s reserved demeanor and considers potential challenges it may bring to this specific adaptation. Sadly, her fears materialize as Abiko’s request disrupts the production process.

Frustration And Irritation

A Cathartic Yet Undeserved Scolding

The team is taken aback when Abiko asks for extensive revisions to the script for the stage play adaptation, given that she had previously approved it. Abiko clarifies that she had requested numerous modifications earlier, but only gave her approval under the impression that she would be involved in the process once she saw a rehearsal. Since this didn’t happen, she now insists on implementing her revisions. GOA, the scriptwriter, expresses regret for any misunderstandings regarding the script and asserts that he wrote it with Abiko’s instructions and the requirements of a stage play in mind.

Abiko, having discovered the identity of the scriptwriter, is shocked and inquires how he managed to pen such a script. Initially, she questions his familiarity with the manga, and later asserts that his adaptation shows a lack of reverence towards her original characters. Before she can utter regretful words, Kichijoji and the editor intervene and abruptly end rehearsals for the day.

Fallout

The Unseen Victim

In a secluded room, Abiko voices her concerns to Sumiaki Raida, the producer, and her editor. Meanwhile, Kichijoji, GOA, and Aqua remain outside, growing tense as they observe the situation. Kichijoji elucidates the typical process for an adaptation, pondering over how such a significant breakdown in communication transpired. Initially, when Abiko received the first draft of the script, Kichijoji assumed she had objections to it. However, due to her difficulty in articulating her concerns effectively and the various intermediaries involved in conveying her messages to GOA, none of her genuine criticisms ever reached the scriptwriter.

Though Abiko’s reaction might appear impulsive and unjustified, it is actually a culmination of her feelings being disregarded repeatedly. However, it is important to note that GOA is not solely responsible for this situation, as he made an effort to comply with the author’s instructions. Nevertheless, Abiko remains steadfast in her desire to rewrite the entire script on her own, disregarding the time constraints and her lack of expertise in the medium. Faced with the possibility of having the play cancelled altogether, Raida and her editor succumb to Abiko’s demands.

I strongly advocate for GOA’s exclusion from the project according to Abiko, while my name remains attached. Aqua inquires about GOA’s intentions, but as a writer, I have limited influence. All I can do is assume the role of the scapegoat if it ensures a smooth production process. Regardless, being publicly criticized leaves me feeling disheartened, despite my deep-rooted passion for the project and the craft of scriptwriting.

During this interim, rehearsals are postponed until the new script is finalized. As the actors ponder how to make the most of limited rehearsal time, Aqua overhears Akane mention “Stage Around” and wonders what that term signifies. Surprised by Aqua’s lack of knowledge and interest in theater, Akane decides to bring him to a performance, hoping that he will be captivated by the experience of watching a theater production.

2024-07-13 22:03