Philip Reeve's 2001 novel Mortal Engines introduced a startlingly original post-apocalyptic world built upon the philosophy of "Municipal Darwinism." In this future, ravaged by a cataclysmic "Sixty Minute War," entire cities are mounted on colossal engines and wheels, roaming a desolate landscape to hunt and consume smaller mobile towns for resources.
The 2018 film adaptation, produced by Peter Jackson and directed by Christian Rivers, brought this visually arresting concept to the screen with breathtaking spectacle. However, this report will argue that in the process of translating Reeve's complex world, the adaptation prioritized cinematic convention and visual grandeur over the novel's thematic depth, moral ambiguity, and challenging characterizations. The result is a film that, while capturing the aesthetic of the source material, tells a fundamentally different and narratively shallower story.
The process of adapting any literary work for the screen necessitates change, a reality the novel's author acknowledged, noting that a film lacks the narrative space for the book's many subplots and digressions. Yet, the alterations made to Mortal Engines extend far beyond simple condensation. They represent a foundational re-engineering of the story's core components, from the psychological makeup of its protagonist to the very nature of its climax.
A critical examination reveals a consistent pattern of choices designed to align the property with the commercial demands of a PG-13 blockbuster.
The single most consequential alteration in the adaptation is the dramatic sanitization of the protagonist, Hester Shaw. In Reeve's novel, Hester is defined by her grotesque disfigurement. The result of Thaddeus Valentine's attempt to murder her as a child, her wound is described as a "hideous" scar running from forehead to jaw, which has left her with a smashed stump for a nose, a mouth "wrenched sideways in a permanent sneer," and only one eye.
This physical trauma is the bedrock of her character; her foul temper, deep-seated insecurity, and violent rage are direct consequences of a world that recoils from her appearance. She is, as one passage describes, a "portrait that had been furiously crossed out".
The film abandons this challenging depiction entirely. In its place, Hester is portrayed by a conventionally attractive actress, her disfigurement reduced to a single, almost delicate facial scar that does little to mar her beauty. This decision was met with significant criticism from fans of the novel, who felt it betrayed the character's integrity and missed an opportunity for meaningful representation of disfigurement in media.
The filmmakers defended the choice by arguing that a book-accurate scar would be "totally distracting" for the audience and would strain the credibility of the central romance between Hester and Tom Natsworthy.
This cosmetic change creates a domino effect that fundamentally alters the story's emotional and thematic core. By removing the physical manifestation of Hester's trauma, the film severs the connection between her appearance and her personality.
The novel's Hester is ruthless and unpleasant because she believes "nobody will ever like her anyway"; her journey is about overcoming this self-hatred and learning to trust in a world that has only ever shown her revulsion. The film's Hester, by contrast, becomes a "badass cute chick", a more standard YA heroine whose inner turmoil feels less profound because its external cause has been erased. Consequently, the romance with Tom is accelerated and simplified.
The novel's central romantic tension Tom's gradual process of looking past Hester's "ugly" face to see the person within is removed, replaced by a more conventional and rapid attraction between two outcasts. The powerful theme of finding humanity and love in what society deems monstrous is sacrificed for a familiar trope, a change that constitutes a thematic lobotomy of the source material.
The adaptation further simplifies its narrative by inverting the roles of its primary antagonists, Magnus Crome and Thaddeus Valentine. In the novel, the true villain is the ideology of Municipal Darwinism, embodied by Lord Mayor Magnus Crome.
As the ambitious Head of the Guild of Engineers, Crome is the mastermind behind the MEDUSA project, viewing the ancient superweapon as the necessary and logical next step to ensure London's continued survival and dominance. Thaddeus Valentine, the Head of the Guild of Historians, is a charismatic and conflicted figure, but he is ultimately Crome's agent, tasked with acquiring the weapon's components.
The film completely reverses this dynamic.
Valentine is elevated to the primary antagonist, a power-hungry obsessive who develops MEDUSA in secret against the wishes of a more cautious and traditionalist Lord Mayor Crome. To achieve his goals, Valentine stages a coup, murdering Crome and seizing control of London. T
his alteration fundamentally shifts the nature of the story's central conflict from systemic to individual. In the novel, the horror of MEDUSA is that it is a state-sponsored project, the horrifying but rational conclusion of a society built on relentless consumption. The film, however, recasts this societal evil as the plot of a single rogue villain.
This narrative choice serves to make the film's radically different ending more plausible within its own internal logic. By having Valentine overthrow the "legitimate" leader, the film absolves the citizens of London of their collective responsibility.
They are no longer unrepentant predators but the liberated subjects of a tyrant, which allows for the film's hopeful conclusion where the survivors are peacefully welcomed by the Anti-Traction League. However, this simplification comes at a great cost. The novel's core message that the entire philosophy of Municipal Darwinism is the true antagonist, leading inevitably to self-destruction is lost. The book argues that the city itself is the problem; the film suggests that removing one bad apple is enough to solve it.
Driven by the need for narrative economy, the film excises one of the novel's most crucial subplots: the investigation conducted by Katherine Valentine and the Apprentice Engineer Bevis Pod. In the book, Katherine, a fiercely intelligent and moral character, grows suspicious of her father following Hester's assassination attempt.
She partners with the low-ranking but observant Bevis, and together they uncover the vast conspiracy surrounding MEDUSA, the dark secrets of her father's past, and the political tensions between London's powerful Guilds.
This arc provides a vital window into the city's complex social structure, culminating in a rebellion by the Historians' Guild against the Engineers and, ultimately, Katherine's own tragic and heroic sacrifice.
In the film, this entire storyline is gutted. Katherine's role is severely diminished, reduced to a concerned daughter with little agency. Bevis Pod appears only briefly before disappearing from the plot entirely. The consequences of this omission are far-reaching.
Without Katherine's investigation, the film loses its primary mechanism for world-building within London.
The Guild system, which forms the backbone of the city's society, is almost completely absent from the film adaptation. The compelling conflict between the forward-thinking, ruthless Engineers and the past-obsessed, more conscientious Historians is erased.
As a result, the London of the film feels less like a living, breathing city with complex internal factions and moral dissent, and more like a monolithic antagonist, a generic "Death Star on wheels". Katherine's survival in the film further dilutes the story's tragic power, prefiguring the adaptation's complete tonal departure in its final act.
Beyond the character alterations, the film's script charts a significantly different course from the novel, replacing nuanced plot developments with more conventional, action-oriented set pieces. Five major changes exemplify this narrative reconstruction.
The climax of Reeve's novel is a brutal and heart-wrenching convergence of character arcs. As MEDUSA prepares to fire on the Anti-Traction League's defensive wall, the key players converge at St. Paul's Cathedral. Hester, driven by years of hatred, fights her way toward Valentine to finally claim her revenge.
As Valentine raises his sword to kill her, Katherine, horrified by what her father has become, leaps between them. Valentine's blade strikes his own daughter, fatally wounding her.
This single act is the pivot upon which the entire story turns. As Katherine collapses, her hand falls onto MEDUSA's control keyboard, entering an incorrect firing sequence. This does not stop the weapon but instead causes it to malfunction, beginning a catastrophic overload. Her heroic act is thus both intentional in its purpose (to save Hester) and accidental in its effect. In the face of this tragedy, the conflict between Valentine and Hester momentarily dissolves.
Seeing his daughter dying, Valentine's ambition evaporates, replaced by grief. He and Hester, united in a moment of shared humanity, attempt to carry Katherine to Tom's waiting airship, the Jenny Haniver.
But there is no heroic rescue. Katherine dies in her father's arms before they can reach safety. With nothing left, Valentine chooses to remain on his dying city, telling Tom and Hester to escape. Moments later, MEDUSA implodes, obliterating London in a cataclysm of fire and energy, killing Valentine and everyone else aboard.
The ending is not a victory but a tragedy.
It is the ultimate indictment of Municipal Darwinism, an ideology of consumption so rapacious that it can only end in total self-annihilation. The final image is of Tom and Hester, two of the only survivors, grieving and alone as they fly away into an uncertain future. It is a bleak, powerful, and thematically coherent conclusion.
The film discards the novel's ending entirely, replacing it with a sequence of events assembled from the blueprint of a conventional Hollywood blockbuster. The climax is a series of distinct action set-pieces. First, Hester and Anna Fang infiltrate London. After Valentine mortally wounds Anna in a duel, Hester successfully uses the "crash drive" necklace to deactivate MEDUSA.
With his primary weapon disabled, a now-insane Valentine puts London on a full-speed collision course with the Shield Wall. This sets up the second set-piece, a sequence explicitly compared by critics to the Death Star trench run in Star Wars.
Tom flies the Jenny Haniver deep inside London's structure and destroys its massive engine core, disabling the city just moments before impact. The final confrontation is a one-on-one duel between Hester and Valentine aboard his escaping airship, where he delivers the "I am your father" revelation. Tom rescues Hester, their airship shoots down Valentine's, and the villain falls onto the tracks to be unceremoniously crushed by his own slowing city.
The resolution is a complete thematic inversion of the novel's. London is disabled but not destroyed. Katherine survives and assumes leadership of the Londoners. In a moment that defies all political logic, the people of London, who moments before were complicit in a genocidal attack, are welcomed peacefully by the Anti-Tractionists of Shan Guo. The film ends with Tom and Hester embracing and flying off together for a new adventure.
This "happy as can be" ending is engineered for mass-market appeal and the potential for sequels. It provides closure, reassurance, and triumphant heroism, choosing to affirm blockbuster conventions rather than challenge its audience with the novel's darker, more complex, and ultimately more meaningful message.
The 2018 film adaptation, produced by Peter Jackson and directed by Christian Rivers, brought this visually arresting concept to the screen with breathtaking spectacle. However, this report will argue that in the process of translating Reeve's complex world, the adaptation prioritized cinematic convention and visual grandeur over the novel's thematic depth, moral ambiguity, and challenging characterizations. The result is a film that, while capturing the aesthetic of the source material, tells a fundamentally different and narratively shallower story.
The process of adapting any literary work for the screen necessitates change, a reality the novel's author acknowledged, noting that a film lacks the narrative space for the book's many subplots and digressions. Yet, the alterations made to Mortal Engines extend far beyond simple condensation. They represent a foundational re-engineering of the story's core components, from the psychological makeup of its protagonist to the very nature of its climax.
A critical examination reveals a consistent pattern of choices designed to align the property with the commercial demands of a PG-13 blockbuster.
Deconstruction and Reconstruction: The Characters of the Traction World
The Sanitization of a Heroine: Hester Shaw's Scar and Soul
The single most consequential alteration in the adaptation is the dramatic sanitization of the protagonist, Hester Shaw. In Reeve's novel, Hester is defined by her grotesque disfigurement. The result of Thaddeus Valentine's attempt to murder her as a child, her wound is described as a "hideous" scar running from forehead to jaw, which has left her with a smashed stump for a nose, a mouth "wrenched sideways in a permanent sneer," and only one eye.
This physical trauma is the bedrock of her character; her foul temper, deep-seated insecurity, and violent rage are direct consequences of a world that recoils from her appearance. She is, as one passage describes, a "portrait that had been furiously crossed out".
The film abandons this challenging depiction entirely. In its place, Hester is portrayed by a conventionally attractive actress, her disfigurement reduced to a single, almost delicate facial scar that does little to mar her beauty. This decision was met with significant criticism from fans of the novel, who felt it betrayed the character's integrity and missed an opportunity for meaningful representation of disfigurement in media.
The filmmakers defended the choice by arguing that a book-accurate scar would be "totally distracting" for the audience and would strain the credibility of the central romance between Hester and Tom Natsworthy.
This cosmetic change creates a domino effect that fundamentally alters the story's emotional and thematic core. By removing the physical manifestation of Hester's trauma, the film severs the connection between her appearance and her personality.
The novel's Hester is ruthless and unpleasant because she believes "nobody will ever like her anyway"; her journey is about overcoming this self-hatred and learning to trust in a world that has only ever shown her revulsion. The film's Hester, by contrast, becomes a "badass cute chick", a more standard YA heroine whose inner turmoil feels less profound because its external cause has been erased. Consequently, the romance with Tom is accelerated and simplified.
The novel's central romantic tension Tom's gradual process of looking past Hester's "ugly" face to see the person within is removed, replaced by a more conventional and rapid attraction between two outcasts. The powerful theme of finding humanity and love in what society deems monstrous is sacrificed for a familiar trope, a change that constitutes a thematic lobotomy of the source material.
Streamlining the Antagonists: The Inversion of Crome and Valentine
The adaptation further simplifies its narrative by inverting the roles of its primary antagonists, Magnus Crome and Thaddeus Valentine. In the novel, the true villain is the ideology of Municipal Darwinism, embodied by Lord Mayor Magnus Crome.
As the ambitious Head of the Guild of Engineers, Crome is the mastermind behind the MEDUSA project, viewing the ancient superweapon as the necessary and logical next step to ensure London's continued survival and dominance. Thaddeus Valentine, the Head of the Guild of Historians, is a charismatic and conflicted figure, but he is ultimately Crome's agent, tasked with acquiring the weapon's components.
The film completely reverses this dynamic.
Valentine is elevated to the primary antagonist, a power-hungry obsessive who develops MEDUSA in secret against the wishes of a more cautious and traditionalist Lord Mayor Crome. To achieve his goals, Valentine stages a coup, murdering Crome and seizing control of London. T
his alteration fundamentally shifts the nature of the story's central conflict from systemic to individual. In the novel, the horror of MEDUSA is that it is a state-sponsored project, the horrifying but rational conclusion of a society built on relentless consumption. The film, however, recasts this societal evil as the plot of a single rogue villain.
This narrative choice serves to make the film's radically different ending more plausible within its own internal logic. By having Valentine overthrow the "legitimate" leader, the film absolves the citizens of London of their collective responsibility.
They are no longer unrepentant predators but the liberated subjects of a tyrant, which allows for the film's hopeful conclusion where the survivors are peacefully welcomed by the Anti-Traction League. However, this simplification comes at a great cost. The novel's core message that the entire philosophy of Municipal Darwinism is the true antagonist, leading inevitably to self-destruction is lost. The book argues that the city itself is the problem; the film suggests that removing one bad apple is enough to solve it.
Casualties of Condensation: The Excised Arcs of Katherine Valentine and Bevis Pod
Driven by the need for narrative economy, the film excises one of the novel's most crucial subplots: the investigation conducted by Katherine Valentine and the Apprentice Engineer Bevis Pod. In the book, Katherine, a fiercely intelligent and moral character, grows suspicious of her father following Hester's assassination attempt.
She partners with the low-ranking but observant Bevis, and together they uncover the vast conspiracy surrounding MEDUSA, the dark secrets of her father's past, and the political tensions between London's powerful Guilds.
This arc provides a vital window into the city's complex social structure, culminating in a rebellion by the Historians' Guild against the Engineers and, ultimately, Katherine's own tragic and heroic sacrifice.
In the film, this entire storyline is gutted. Katherine's role is severely diminished, reduced to a concerned daughter with little agency. Bevis Pod appears only briefly before disappearing from the plot entirely. The consequences of this omission are far-reaching.
Without Katherine's investigation, the film loses its primary mechanism for world-building within London.
The Guild system, which forms the backbone of the city's society, is almost completely absent from the film adaptation. The compelling conflict between the forward-thinking, ruthless Engineers and the past-obsessed, more conscientious Historians is erased.
As a result, the London of the film feels less like a living, breathing city with complex internal factions and moral dissent, and more like a monolithic antagonist, a generic "Death Star on wheels". Katherine's survival in the film further dilutes the story's tragic power, prefiguring the adaptation's complete tonal departure in its final act.
Narrative Divergence: Charting a New Course Across the Hunting Ground
Beyond the character alterations, the film's script charts a significantly different course from the novel, replacing nuanced plot developments with more conventional, action-oriented set pieces. Five major changes exemplify this narrative reconstruction.
- The MEDUSA Conspiracy: From Civic Project to Secret Coup
As detailed previously, the film reframes the entire political context of the superweapon. In the novel, MEDUSA is the city's official, albeit secret, ambition, driven by the Lord Mayor and the powerful Engineers' Guild. The film transforms it into the personal project of a single rogue agent, Thaddeus Valentine, who must stage a coup to implement his plan. This changes the story from a critique of a society's ideology to a more standard thriller about stopping a lone madman. - The Sabotage of the Air Fleet: Stealth vs. Spectacle
The two versions present vastly different accounts of how the Anti-Traction League's air power is neutralized. The novel features a tense sequence of espionage and personal combat: Valentine infiltrates the League's mountain fortress of Batmunkh Gompa disguised as a monk, single-handedly destroys their airship fleet with strategically placed explosives, and then engages in a fatal sword duel with the aviatrix Anna Fang. The film opts for pure spectacle. The entire Anti-Tractionist fleet launches a full-scale assault on London, only to be annihilated in a massive CGI battle by a single blast from MEDUSA. This choice prioritizes a visually impressive but impersonal action sequence over the novel's character-driven tension. - The Paternal Reveal: A Climactic Trope
One of the most jarring changes is the handling of Hester's parentage. In the novel, the fact that Valentine is Hester's biological father is a tragic detail that Katherine uncovers during her investigation, adding another layer of horror to his crimes. The film withholds this information and deploys it as a major plot twist during the climax, in a moment that directly evokes The Empire Strikes Back. As Hester and Valentine duel aboard his airship, he dramatically reveals, "I am your father". This transforms a piece of poignant backstory into a familiar cinematic trope, a choice that many viewers found to be poorly set up and unintentionally comical. - The Omission of the Pirate Suburb and Predator Chase
The film excises a significant portion of Tom and Hester's journey across the Hunting Ground. Entire subplots are removed, most notably their capture by the bizarre pirate suburb of Tunbridge Wheels and its etiquette-obsessed mayor, Chrysler Peavey. Also cut is a terrifying sequence where London tests MEDUSA for the first time, utterly obliterating the massive German predator city of Panzerstadt-Bayreuth. These omissions severely truncate the story's timeline and remove key world-building elements that vividly illustrated the brutal, day-to-day reality of Municipal Darwinism. - The "Crash Drive": A MacGuffin for a Simpler Resolution
To simplify the climax, the film introduces a plot device that does not exist in the novel: a "crash drive." Hester's mother's necklace is revealed to be a kill switch for the MEDUSA weapon, a unique key that can shut it down instantly. This functions as a classic MacGuffin, giving the heroes a clear, tangible goal. In the novel, no such device exists. MEDUSA is stopped not by a piece of technology, but by Katherine's accidental, sacrificial intervention. The introduction of the crash drive aligns the plot with conventional action movie structures, providing a much cleaner, but less emotionally resonant, path to victory.
The Two Endings: A Tale of Cataclysm Versus Convention
The Novel's Finale: Tragedy, Sacrifice, and Annihilation
The climax of Reeve's novel is a brutal and heart-wrenching convergence of character arcs. As MEDUSA prepares to fire on the Anti-Traction League's defensive wall, the key players converge at St. Paul's Cathedral. Hester, driven by years of hatred, fights her way toward Valentine to finally claim her revenge.
As Valentine raises his sword to kill her, Katherine, horrified by what her father has become, leaps between them. Valentine's blade strikes his own daughter, fatally wounding her.
This single act is the pivot upon which the entire story turns. As Katherine collapses, her hand falls onto MEDUSA's control keyboard, entering an incorrect firing sequence. This does not stop the weapon but instead causes it to malfunction, beginning a catastrophic overload. Her heroic act is thus both intentional in its purpose (to save Hester) and accidental in its effect. In the face of this tragedy, the conflict between Valentine and Hester momentarily dissolves.
Seeing his daughter dying, Valentine's ambition evaporates, replaced by grief. He and Hester, united in a moment of shared humanity, attempt to carry Katherine to Tom's waiting airship, the Jenny Haniver.
But there is no heroic rescue. Katherine dies in her father's arms before they can reach safety. With nothing left, Valentine chooses to remain on his dying city, telling Tom and Hester to escape. Moments later, MEDUSA implodes, obliterating London in a cataclysm of fire and energy, killing Valentine and everyone else aboard.
The ending is not a victory but a tragedy.
It is the ultimate indictment of Municipal Darwinism, an ideology of consumption so rapacious that it can only end in total self-annihilation. The final image is of Tom and Hester, two of the only survivors, grieving and alone as they fly away into an uncertain future. It is a bleak, powerful, and thematically coherent conclusion.
The Film's Resolution: The Blockbuster Blueprint
The film discards the novel's ending entirely, replacing it with a sequence of events assembled from the blueprint of a conventional Hollywood blockbuster. The climax is a series of distinct action set-pieces. First, Hester and Anna Fang infiltrate London. After Valentine mortally wounds Anna in a duel, Hester successfully uses the "crash drive" necklace to deactivate MEDUSA.
With his primary weapon disabled, a now-insane Valentine puts London on a full-speed collision course with the Shield Wall. This sets up the second set-piece, a sequence explicitly compared by critics to the Death Star trench run in Star Wars.
Tom flies the Jenny Haniver deep inside London's structure and destroys its massive engine core, disabling the city just moments before impact. The final confrontation is a one-on-one duel between Hester and Valentine aboard his escaping airship, where he delivers the "I am your father" revelation. Tom rescues Hester, their airship shoots down Valentine's, and the villain falls onto the tracks to be unceremoniously crushed by his own slowing city.
The resolution is a complete thematic inversion of the novel's. London is disabled but not destroyed. Katherine survives and assumes leadership of the Londoners. In a moment that defies all political logic, the people of London, who moments before were complicit in a genocidal attack, are welcomed peacefully by the Anti-Tractionists of Shan Guo. The film ends with Tom and Hester embracing and flying off together for a new adventure.
This "happy as can be" ending is engineered for mass-market appeal and the potential for sequels. It provides closure, reassurance, and triumphant heroism, choosing to affirm blockbuster conventions rather than challenge its audience with the novel's darker, more complex, and ultimately more meaningful message.
Comparative Summary of Alterations from Book to Movie
The following table provides a consolidated overview of the most critical divergences between the novel and the film, highlighting the narrative and thematic impact of each change.
| Feature | Novel (Philip Reeve, 2001) | Film (Christian Rivers, 2018) | Narrative/Thematic Impact of Change |
| Hester's Disfigurement | Hideously scarred: missing an eye, smashed nose, mangled mouth. Her appearance defines her character. | A single, clean scar on an otherwise conventionally attractive face. | Sanitizes the protagonist, weakening the core theme of finding humanity in the monstrous and simplifying her romance with Tom. |
| Magnus Crome's Role | Ambitious Head of Engineers and the true mastermind behind the MEDUSA project. | A cautious, traditionalist Lord Mayor who opposes MEDUSA and is murdered by Valentine. | Shifts the story's evil from a systemic ideology (Municipal Darwinism) to the actions of a single rogue villain. |
| Katherine Valentine's Arc & Fate | Conducts a dangerous investigation, uncovers the conspiracy, and dies heroically, sacrificing herself to stop MEDUSA. | Plays a minor, passive role. Survives the film and becomes the new leader of London's survivors. | Removes a key subplot of internal dissent and political intrigue, and dilutes the story's tragic weight. |
| Bevis Pod's Role | A key supporting character who aids Katherine's investigation before being tragically killed. | A minor character with a few lines who quickly disappears from the plot. | Contributes to the flattening of London's internal world and the removal of Katherine's investigative arc. |
| Valentine's Paternity Reveal | A tragic backstory detail discovered by Katherine during her investigation. | A climactic, trope-heavy "I am your father" reveal delivered by Valentine during the final duel. | Transforms a piece of character depth into a jarring and poorly-executed plot twist that undermines the climax. |
| Method of Stopping MEDUSA | Katherine accidentally falls on the control keyboard, causing the weapon to malfunction and overload. | Hester uses her mother's necklace, a "crash drive," which functions as a kill switch for the weapon. | Replaces a tragic, character-driven resolution with a conventional MacGuffin, simplifying the plot for an action-movie structure. |
| The Final Duel | A chaotic confrontation involving Hester, Valentine, and Katherine, culminating in Katherine's accidental death. | A one-on-one fight between Hester and Valentine aboard his airship, followed by Tom's intervention. | Prioritizes a standard hero-villain showdown over the novel's more complex and emotional climax. |
| London's Ultimate Fate | Completely annihilated by the implosion of MEDUSA, a direct consequence of its own destructive ideology. | Disabled by Tom destroying its engine, but left largely intact. Its people survive and make peace. | Inverts the novel's core message, replacing a cautionary tale of self-destruction with a hopeful, unearned resolution. |
| Anna Fang's Death | Killed by Valentine in a personal sword duel after he sabotages the air fleet at Batmunkh Gompa. | Mortally wounded by Valentine during the infiltration of London, just before Hester stops MEDUSA. | Moves her death into the final action set-piece, altering its context and impact. |
| Shrike's Death | Killed by Tom with a sword during a confrontation in the Rustwater Marshes. | Killed by Anna Fang and her crew at the slave market of Rustwater. | Transfers a key character moment from Tom to Anna Fang, altering Tom's developmental arc. |
| Omitted Subplots | Includes extensive subplots like the capture by the pirate town Tunbridge Wheels and the destruction of Panzerstadt-Bayreuth. | These subplots are entirely removed to streamline the narrative and shorten the timeline. | Removes significant world-building and character development, reducing the sense of scale and journey. |
| Overall Tone and Resolution | Bleak, tragic, and morally complex. Ends with the total destruction of the antagonist city and two grieving survivors. | Optimistic, triumphant, and conventional. Ends with the villain defeated, the city saved, and the heroes flying off to a happy future. | Fundamentally changes the story from a dark cautionary tale into a standard YA action-adventure film. |
