The comic book and its higher-brow accomplice, the graphic novel, thrive on an endless fascination with good and evil, the machinations of modern heroes, and an imitation of life that unfurls drawing by drawing, line by line. The resilient possibilities of plot and picture have given Hollywood the urge to plunder their serial-paneled pages for its own repurposing, with films like X-Men, Blade, or Batman garnering sequels, soaring budgets, and fanatical followings. But how does the two-dimensional comic book adapt when migrating to a medium that thrives on maniacal motion and humans inflating those word balloons? Moving beyond the blockbuster, Drawn from Life presents eight films that plot their own path beyond the original penman's paper-based vision. Whether it's the gooey remake of Swamp Thing and its dripping man-vegetable, Tank Girl's diminutive heroine all punked-out and post-apocalyptic, Robert Altman's Popeye threatening to topple back to newsprint, or Flash Gordon's randy reinvention of off-planet cleavage, these fantasy films ever so slightly acknowledge their lined-and-colored comic origins. Taking a different line entirely, Frank Miller's Sin City faithfully abandons the inky page for the cartoon caress of cinema space, while American Splendor makes the media moot by conjoining the two. Finally, Hellboy revels in its dark graphical source, replicating its impish humor, ornate design, and viscous evil with inflammatory detail. When it comes to graphical adaptability, we call it a draw.