ACTION, FANTASY, ROMANCE

Sultan Suleyman's court calls the legendary Count Il Lupo, his daughter Francesca, and other companions to find out who is responsible for the murders in his palace. There, they prevent attempts to assassinate the sultan and his concubine by Shaitan and discover the presence of a fearsome Jinn who has been murdering and causing massacres in the basements of the palace to cover up an evil plan.

FAIR

THIRD PERSON

Authors Writing Style: GOOD

Characterization: FAIR

Commerciality: FAIR

Franchise Potential: GOOD

Pace: FAIR

Premise: GOOD

Structure: FAIR

Theme: GOOD

The authors describe well and with many details the story they have to tell and its characters. Perhaps they could be a little more concise in these descriptions. In addition, it would be possible to be more specific concerning the target audience, which is probably a little older due to the topics addressed and the more classic writing style.

The more classic and even purposefully archaic writing style is reminiscent of a story of adventures, action, and romance in the best "The Arabian Nights" style, which attracts readers from the first sentences.

The story takes too long to get to the main events and introduce its central characters. It's nice that the book has detailed dialogues and descriptions, but these sometimes sound tiring and unnecessarily prolonged. The authors don't need to change the narrative style but try to be more concise and straight to the point, especially in crucial moments of the narrative.

THE STORY RELIES HEAVILY ON SPECIAL EFFECTS

The leading hook is to be an old-fashioned story of adventure, mystery, and romance, remembering certain archaic narratives like "The Arabian Nights" but with a particularly contemporary look.

Although they are not exactly at the epicenter of current pop culture, great adventures set in historical settings far from our reality can always attract a lot of attention. After all, they bring many timeless elements within themselves. It's just important to remember to translate many points of this kind of narrative for a contemporary audience.

The main potential in the story is in technical awards, such as special effects or costumes, or awards aimed explicitly at genres such as action and adventure. However, with a more cohesive and direct adaptation, which manages to take all the fun potential out of this story, it is possible to think of a broader range of prizes.

LARGE BUDGET

ALADDIN - A POOR AND ADVENTUROUS THIEF FALLS IN LOVE WITH A BEAUTIFUL PRINCESS AND FREES THE SULTAN FROM THE CLUTCHES OF HIS FEARSOME ADVISER. THE PRINCESS BRIDE - A SWASHBUCKLER FULL OF FANTASY, ADVENTURE, AND FUN, REFERRING TO THE FILMS OF THE PAST WITHOUT FORGETTING THE PUBLIC OF THE TIME IN WHICH IT WAS PRODUCED.

There's nothing very original about the story, not least because the main point is to pay homage to old narratives and swashbuckler films. And that's pretty bold these days by itself. However, the adaptation could indeed have more elements that would connect it more firmly to current audiences.

Although they have particular characteristics, all the central characters are unwavering models of courage and loyalty, while the villains are evil incarnate, which fits perfectly with this type of story. However, some nuances and subtleties are missing that could be introduced throughout the book to make these people more complex and exciting.

Although it starts from an interesting premise, it is not a rare gem. The story lacks personality, conciseness, and clarity on many of the narrative points presented. A more fluid and thought-provoking narrative would make this whole story better to follow and closer to becoming something really memorable today.

Film: Studio TV Series: Network, Cable, Limited Run / Mini-Series, Streaming

WORK IN PROGRESS

It's a work in progress because it gives the impression that the authors could take much more emotion and fun out of the narrative's potential. The story is structured somewhat irregularly, with excessively still or descriptive moments, concentrating the action in a few bits, an organization that might cause a loss of interest in those reading.

The book starts interestingly, accompanying soldiers of the sultan who misbehaved behind his back. However, we are stuck at this point in the narrative for too long, and none of these are among the central characters in the book, which will only appear much later. These opening scenes could be trimmed considerably without losing much impact, making the narrative more fluid and straightforward. Other changes that could be made in this regard have to do with the extensions of the descriptions and dialogues throughout the book. There are entire chapters devoted only to descriptions of places, such as Topkapi Palace, at the beginning of the story, as well as dialogues that take several pages and could be more objective. Understandably, this is the narrative style, but a cinematographic adaptation will need to efficiently mine the moments of more action in the story and the most influential exchanges without being able to focus too much on these more still moments. And in fact, elements are lacking that somehow modernize this genre and bring it closer to the universe we currently know. It's always great to reference "The Arabian Nights" and swashbuckler novels. These things are embedded in the genesis of what we know as adventure, but how do those references translate today? It is not necessary to bring them to the modern world, but it is essential to evoke some kind of language, characters, or even motivations that guarantee some appeal to those who will watch this story in a movie theater or on TV today.