A series of murders causes outrage in the large refugee communities in Japan, so much that calls for an autonomous refugee state begins. A mysterious charismatic leader is rounding up the refugees, while a mysterious police chief is deeper in the case more than he wants to say. Section 9 finds itself trying to silently arrest the leader of the uprising, silently protect the relatively young prime minister, and silently save all of Japan from either nuclear attack or a major international war. And all that, while proving their worth to a government and police system that no longer believes them.  Welcome to the Individual Eleven case.

2nd Gig is the second season of Stand Alone Complex, handled by a slightly different group of people as those who did the highly successful first season. This second season is even better. Take it from me. I ignored half of the first season. ^^V  

Why do I love this? Let me count the ways.

- The Individual Eleven case is actually easier to follow, despite being more complicated and of more epic scope than the Laughing Man case (the first season's major plotline). Events occur in a specific chronological order, and clues are given in like manner. Also, after they have piled on all the political or conceptual chit-chat, they give a one-sentence summary at the end of it, the fact you definitely have to understand and take onto the next episode. It's hard to grasp everything, that is true, but it is easier to understand the overall picture, and in such a big case, that is what is important.

- Every episode in 2nd Gig moves toward completing the Individual Eleven case puzzle, both "stand-alone" ones and "complex" ones. INdividual episodes deal with moving the story forward. DIvidual episodes (the stand-alones) don't move the story, but give insights about it from other angles. DUAL episodes explain the concepts more fully. In short, no episode is skippable, if you want to really comprehend this case.

- In the original series we get to know Batou and Togusa. Within 2nd Gig you get to meet the rest of Section 9, thus correcting one semi-major gripe against SAC (that you actually know more about the Tachikoma than Section 9!). Back stories for almost all of them are given one episode each. Also, Kusanagi gets a little more personality in this set.

- The animation is better because of the change in direction, and you cannot complain even once. The big sweeping backgrounds are a wonder to look at. Attention to detail is incredible. The CGI-animated cars, tanks, and Tachikoma merge with the traditional animation much better in this set. Finally, Kusanagi is more appropriately dressed in this season, but still so, so sexy!

- "Tachikoma Days", at the end of each episode. Sometimes they are stand-alone, sometimes they are based on the episode preceding it, sometimes they make a little running story. Always they are very funny, and well made.

- Proto. If you thought Ghost in the Shell would never get a bishonen, this guy will prove you wrong. A small part, but a nice guy.  Kuze Hideo is quite good-looking, too!

- "Rise" and "Living Inside the Shell", the opening and ending themes, which give a good summary of what the concept of the series is about. The fact that the songs are in English (or 60% English) is a treat to English-speaking viewers.

You don't have to see the original movie to understand SAC, but it does help a lot. You have to have a working idea of the brain shell and ghost system the entire series is based on. You also need to get familiar with the major characters.

This is one of the brainiest, most concept-based, most dialogue-intensive new anime, so if you don't like your anime that way, you've been warned.  Also, Ghost in the Shell is definitely made for a mature audience. But there is plenty to like, so it won't hurt to give it a try. Just be ready to have your eyes and ears at full attention for all of 30 minutes. You'll be treated to a feast for the eyes and an exercise to the brain.

SAC 2nd Gig will make you proud to be an anime fan. You will be hard pressed to find another series, animated or not, with such a smart story. If you can handle the mental workout, 2nd Gig will not disappoint.

EK  8 ) 

You've probably heard about this anime that raked in awards, was made by Mahiro Maeda, took a classic and ran away with it, redefined anime for the new century. So, is Gankutsuou worth all that hype?

Probably.  

If you grew up with the World Masterpiece Theater anime (those anime made closely based on world classics - such as those for A Little Princess, Heidi, Anne of Green Gables), and you're expecting the same thing -- throw that notion out the window, RIGHT NOW!

The novel is the story of an innocent man thrown into an Alcatraz-like prison. After many angry years, he manages to get free, get money, and orchestrates major revenge and evil against the people who got him into jail in the first place.

This basic premise is still the same in the anime version, and almost all the major characters of the book are still there. But everything else changes. Instead of 19th century France, this happens in a sci-fi world filled with virtual screens, spaceships, mobile suits, hidden computer archives -- but also 1960's-style cars and clothes, as well as 1880's-style frocks and carriages. We still don't know how the Count gets all his money, but now, we also don't know if he's even human!  Furthermore, Gankutsuou is presented not through the Count like in the novel, but mostly through Albert de Morcerf, a character with major implications in the novel, but had a minor presence. Lastly, there IS a very good reason why it did not use the name of the novel, but called itself Gankutsuou (Japanese for "ruler of the cave", the title of the novel when first released in Japan -- but that's not the reason!)

For instance: The Count is blue (no, seriously.). He first meets Albert on the moon. His servant Ali is an alien (no, seriously, an alien with tentacles for legs.). He has a whole spaceship in his command. Danglars is a modern stockbroker with a virtual secretary. Morcerf used to be a general who operated a mobile suit. Haydee, the Count's consort, is a girl from another planet. And everything I have related, is just the tip of the iceberg.  

Insane? Definitely. Convincing? Incredibly, yes!

Here are a few things you have to know, to explain all the hype surrounding Gankutsuou:

1. Alexandre Dumas is an author of world-famous classics. He is best known for The Three Musketeers series, but The Count of Monte Cristo is also very well-known.

In the hands of less capable people, Gankutsuou could have turned out to be a VERY hated animation for the sacrilege of taking such a classic and changing so many things. Miraculously, Gankutsuou does not rile you with the changes, because the book's major plot elements, character personalities, and suspense points are still there intact, just presented differently. Also, it does not assume to BE the book, just roughly based on it. You might even find yourself intrigued, as I was, finding out what changed and what stayed the same.

This is unlike what happens for most adaptations, including the movie with Jim Caviezel as the Count. Because the movie is directly taken from the book, major changes are not tolerated. Believe me. I was vicious with the movie for changing the ending.

2. Mahiro Maeda is now world-famous for the Animatrix's "The Second Renaissance", besides also doing Blue Submarine 6 and several other popular anime (He did the mecha for Vandread and some of the mecha in GateKeepers).  Gankutsuou is his first major work, and it is ground-breaking work.

3. 2D-texturing is not new with Gankutsuou. If you've watched Courage the Cowardly Dog, Foster's Home for Imaginary Friends, and some of the work by the creator of Kids Next Door, you've seen a little bit of that animation style. It's like having printed paper under a white-paper cutout, and making that paper cutout move. But Gankutsuou took 2D-texturing to a whole new level. BOTH foregrounds and backgrounds have it, and at a level of detail several notches above those used by the American cartoons that have tried it. Add to that all the 3D CGI work that fills the whole show, and you have a distinct and unique animation experience. It deserves all the animation-related awards it has.  

4. Gankutsuou has very good fashion taste, in part because of the help from Anna Sui. Yes, a real fashion designer helped them out.

Some people complain about the opening and ending music, done in English by a French person. I don't. The opening ("We Were Lovers") takes you in gently into each episode. The ending ("You Won't See Me Coming") tops off each drug-crazy episode quite nicely with a rocking song -- that keeps ringing in your head. The rest of the background music is well-made and well-placed, a good combination of orchestral and techno.   

In short, Gankutsuou is a lot like fusion food - an equal mix of the best of the West with the best of the East. It has a flavor unique to itself, and it will leave people talking long after it is done.

Tips:

- Brush up a little on the novel (SparkNotes is good, watching the movie is fine) to get the most out of Gankutsuou. Reading the entire book is not required, but you have a good heads-up if you managed to read it. It helps in quickly understanding a lot of the foreshadowing in the first few episodes, as well as who the characters are (AH...so that's why the Count looks at her that way....I know who Edmond Dantes is.....-- that kind of thing).

Watching the show without any book knowledge won't be a major problem, because the major plot points are explained toward the end. But already in my country, copies of The Count of Monte Cristo book are starting to appear again in bookstores. It's probably the same in Japan and elsewhere. Coincidence? No way! ^^

- Don't think that you'll be bored if you've read the book and now watch the anime! Far from it. Since most of this is in Albert's point of view, there are still new things to see and appreciate in the story, besides all the sci-fi changes. I will be honest, though. Some of the changes are too far out to believe, the ending does change, and one major thing about the Count did change for this anime.  Watch Gankutsuou with an open mind, and you'll be fine. You might even like it.

- Be patient with the animation style. It gets less psychedelic and more organized as the series progresses, and you will eventually appreciate the unique beauty it has.

- Many people have said this. Watch it subtitled, if you possibly can. The English dub of the DVD release is not highly recommended. The Animax dub is tolerable and quite well-made, but the treatment of lesser characters can be annoying.

Final recommendations:

- Can you start an anime newcomer on this? I don't think so. But if you need help convincing a grown-up that anime isn't all like Dragonball, this might work.

- If you like plot-driven anime, and can tolerate story given through dialogue or quick visuals, there is a good chance you will fall head over heels for this show. It has a way of sucking people in like a sandtrap.

- If you like fast-paced, action-packed anime, this show can and will annoy you. The pacing is okay for its material, but do not expect fights. This is not The Three Musketeers.  

- If you like anime with lovable characters, this might frustrate you a bit, because you will not get to like Albert, Franz or the Count apart from the story. It's that kind of show. If likeable characters are what you're after, you'll like Samurai 7 more than this.  ^^V

In any case, whatever your preferences in anime, you can't go wrong by giving Gankutsuou at least one run-through. I figure this will be like Evangelion after a while: you don't have to like it, but it's a bit inexcusable not to have seen it even once. For better or worse, Gankutsuou WILL be a classic. Like the novel it is based on.    

You won't see it coming, but it will strike. And strike you hard.   

Links:

Official site:  http://www.gankutsuou.com

Spark Notes for the novel: http://www.sparknotes.com/lit/montecristo/

Wikipedia for the novel: http://en.wikipedia.org/wiki/The_Count_of_Monte_Cristo

LJ community: http://www.livejournal.com/community/gankutsuou

 

EK  8 ) 

I'm not sure if these reviews are of any use to anybody, but it helps keep me sane, so I'm still writing them. On to the review.

The novel is inspired by the Jan Vermeer painting of the same name, a mysterious piece with just a black background, unlike the other famous Vermeer paintings. Johannes Vermeer is one of the most important Dutch artists, EVER. He is also regarded as one of the most important Western painters in all of art history, famous for realistic renditions of 17th-century Holland and its people.

So Tracy Chevalier makes this novel about Griet, a 16-year-old servant of the Vermeer household, who slowly gets his attention, as she slowly falls for him, too.  But of course, there are many problems with the relationship: Vermeer's family, Griet's position in life, another suitor for Griet, and Vermeer's key patron causing trouble.  When she finally becomes the model for the unique piece, just up to what amount of trouble will poor Griet find herself in? 

It's short enough not to be intimidating, and long enough to suitably portray all the characters.  I like how Vermeer, for most of the novel, remains "he". It leaves him mysterious yet personal to the readers, reading the account from Griet's eyes. I also enjoyed visualizing what is only implied by a few choice words: the longing in both Griet and her master for each other, the deep and painful emotions running in Catharina, and the sadness of Griet's parents. 

The best part for me is how sexually charged this whole book is, without being explicit. It would have ruined it for me if it was any more specific about things, but it was just fantastic how it gave key elements then left the reader to add in the rest of the details. The book therefore turns out to be both easy to read, and hard to analyze.

Finally, I suddenly understood the importance of descriptions painting the scene for a story, and that big elaborate descriptions are not needed, but accurate and piercing ones are essential. I appreciated how quickly Chevalier immersed her readers into Griet's world of being poor and being a maid in 17th century Holland, without wasting too many words describing Delft, but giving enough.  

When I finished the book, it left me wondering what all the critics saw in it, because it was so deceptively simple, without epic proportions. But when I think about it more, I understood. That's the power it had. It was simple, but realistic, and moving. 

I could recommend Girl with a Pearl Earring to an older teenager without problems, but no teenager less than 16.  I would also recommend this to someone who wants to have another outlook about art, especially Vermeer's art. I don't know about the movie, because I haven't  seen it, but I would recommend reading the book first before seeing it.

So, if you do find this book in your local bookstore, give it a try. You'll never look at the painting Girl With a Pearl Earring the same way again. 

www.pearlearring.com

EK   8 )

I got this from Nekotsuki's blog (http://www.livejournal.com/users/whiteadelphi/) and she got it from someone else. I got hit. The crazy life I have makes me think crazy things.

Pass it on. Someone might just need it. 

Suicide: The Permanent Solution To A Temporary Problem

Ask the 25-year-old who tried to electrocute himself. He lived. But both his arms are gone.

What about jumping? Ask John. He used to be intelligent, with an engaging sense of humor. That was before he leapt from a building. Now, he's brain-damaged and will always need care. He staggers and has seizures. He lives in a fog. But, worst of all, he KNOWS he used to be normal.

What about pills? Ask the 12-year-old with extensive liver damage from an overdose. Have you ever seen anyone die of liver damage? You turn yellow. It's a hard way to go.

What about a gun? Ask the 24-year-old who shot himself in the head. Now he drags one leg, has a useless arm and has no vision or hearing on one side. He lived through his "foolproof" suicide. You might too.

But... Who will clean your blood off the carpet or scrape your brains from the ceiling? Commercial cleaning companies may refuse that job--but SOMEONE has to do it.

Who will have to cut you down from where you hung yourself or identify your bloated body after you've drowned? Your father? Your mother? Your wife? Your son?

The carefully worded "loving" suicide note is of no help. Those who loved you will NEVER completely recover. They'll feel regret and an unending pain.

Suicide is contagious. Look around your family. Look closely at the 4 year old playing with his cars on the rug. Kill yourself tonight, and he may do it ten years from now.

You DO have other choices. There are people who can help you through this crisis. Call a hotline. Call a friend. Call your minister or priest. Call a doctor or hospital. Call the police. They will tell you that there's hope. Maybe you'll find it in the mail tomorrow. Or in a phone call this weekend. But what you're seeking could be just a minute, a month, or a day away.

You say you don't want to be stopped? Still want to do it? -Well, then, I may see you in the psychiatric ward later. And we'll work with whatever you have left.

Remember: Suicide is a permanent solution to a temporary problem.

IF YOU’RE READING THIS, PLEASE STEAL IT AND PUT IT IN YOUR JOURNAL, TOO

The musical based on the story of a histrionic girl and the antisocial masked guy who's crazy about her..........is now a big movie.

By the way, this is where I am coming from: I have read the book, I have the OST, and once in my life knew the whole OST start to finish, but never had the means to see the musical itself. Hence, I watch the movie version.

Let us talk about the main players first.

I really liked Emmy Rossum. She had Sarah Brightman's shoes to fill in the role of Christine, and she did an excellent job. She sang with a voice expected of an 18-year-old, but with a power seldom found in many singers of her age. Her acting was also very elegant and hearfelt. That she is really pretty is just a big plus factor. Best of luck with her future career.

Minnie Driver. As Carlotta, the nasty diva. She is the last actress you would think of to play this role, but she pulled it off incredibly well. She was a good nasty diva the whole time.

The guy who played Raoul (Patrick Wilson) was really great, too. His singing was appropriately rich in the right places. He looked pretty good as well. I just couldn't get used to the hair. ^_^

But the movie ultimately falls flat for me because of THE crucial element: the Phantom.

Sorry, but for me as with most other people, there could only be one. I did not exactly want that Gerard Butler become Michael Crawford (the first and the best Broadway Phantom, according to everybody), but I did expect him to give the role the same emotion, hypnotic power, and vocal control.

I expected to feel for the Phantom in the movie, the way I felt for the Phantom in the musical, from just hearing the OST. I did not, not one bit. SUCH a shame. To prove my point: I watched this movie with a friend who barely knows the Broadway version with Michael Crawford's voice. He could not understand why Christine was so blindly drawn to the Phantom. It's because my friend could not feel that psychological hold he should have on her.

Add to that the scratchy high notes, and my disappointment is complete. It is unforgivable that good looks took precedence to excellent acting and singing in the final choice for the Phantom.

Now for the rest of the stuff.

I really appreciated the fact that material from the book was mixed into the movie, especially about the Phantom's history, as well as the traps doors and tricks. This therefore makes the movie one of the closest adaptations of the book, which is really good. Some reviewers don't like it that the Phantom's tricks were shown, but I liked it a lot. It helps prove that the Phantom is just a really smart man, if rather twisted. I also quite liked the black-and-white sequences, reminiscent of the early films.

The adaptation itself is a mixed bag, though. In some places it's really great, in others it feels forced. The Masquerade sequence was the best. The final confrontation part was the worst, and was actually boring. The annoying part is the way they could not decide to stick with either using spoken lines for originally sung lines, or keeping sung lines. Mixing sung and unsung lines was great in the OG letters sequence, but it was awful in the "All I Ask of You" sequence.

The set designs were excellent, and were well planned and presented. All the opulence of the opera house was displayed, and the dreariness of the underground lair showed well. I also liked the cemetery part a lot, and the way Christine stood out admidst the white setting.

You can't say too much about the music, since it's based on the musical, but it can be said that the orchestrations is a lot nicer here than even in the Broadway OST. It's smoother, and not so blaring as the original, a welcome modification.

Cinematography was really nice on the whole. I like the introduction best, when the chandelier is first raised. I generally liked how the camera swept through the sets and gave the emotions of many people at once.

The special makeup is not too good, unfortunately, for a movie that is supposed to make a Phantom look hideous. The Phantom doesn't look hideous, he looks like a burn victim! And the burns are inconsistent in various points in the movie. Furthermore, there is that glaring mistake toward the end of the movie where his hair changes from black to wispy brown, when Christine takes off the mask.

Overall, The Phantom of the Opera movie has the same problem Pearl Harbor has, seeing that both come from Joel Schumacher. Sure, it was good, really good. But excellent and memorable -- it is not. That is because it tries to copy big hits before it. If Titanic was a big hit, why not Pearl Harbor? If Chicago was a big hit, why not the Phantom movie? You can feel the love of the big bucks permeating everything about the movie, not so much the love of the great musical. This business mindset somewhat ruins important decisions for the movie, which ultimately ruins important aspects that make or break the movie.

Therefore, I can say with truthfulness, that I liked the movie. But I cannot say I will rant and rave about it, the way I went crazy over the Broadway musical. I probably will not watch it again, for a while.

This is the first major example of how the modern movie musical should NOT be done. It did not meet the high standards already raised, ironically, by another Andrew Lloyd-Webber musical, Evita. Oh, well. After the great comes the mediocre. Let this be a lesson to future aspiring directors of a movie musical. It is no longer the 50's. The modern movie musical is not entered into lightly. PLAN WELL!!

Final verdict:

If you're familiar at any level with the musical (read the book, heard the Broadway OST, seen the musical), you should give this movie a watch, especially for the full rendering of the Paris Opera House and the underground lair. Just expect to keep ranting this for the whole movie: Michael Crawford is the one and the only!!

If you have friends who want to know what all the fuss about the musical is about, by all means, let them watch the movie version, and they might just like the musical for itself.

If you want to introduce anybody to musicals, do NOT start them with the Phantom movie. Use the Evita or Chicago movie instead. They are better examples of musical adaptations. Heck, Moulin Rouge was better than this.

If you are not the kind who likes musicals at all, I am sure you will hate this thoroughly. You will not forgive the many faults, and you might not see the strengths. I refer you back to Moulin Rouge.

So go watch it! Just don't say I didn't warn you. ^^

Link to hilarious parody:
http://www.livejournal.com/community/m15m/6231.html