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Mark Schaefer's Profile
Customer Reviews: 33
New Reviewer Rank: 134,779
Classic Reviewer Rank: 19,406
Helpful Votes:
181
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Reviews Written by
Mark Schaefer "themarkman99" (Brockport, NY USA)
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Big Daddy
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| DVD ~ Adams, Joey Lauren |
| Price: $12.49 |
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| Availability: In Stock |
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1 of 1 people found the following review helpful:
Probably one of Sandler's most unappreciated, April 24, 2006
Yes, I am an Adam Sandler fan, but I'm not obsessed about him as some of his other fans are. I appreciate his humor, don't ask me why but I find him funny. Most critics batter him for childish antics, bathroom humor, violent slapstick, and immaturity. True, he can childish and immature in his humor, but he is just lovable enough to get away with it. Anyway, the people I know like to laugh at the one-liners and antics of BILLY MADISON, HAPPY GILMORE, and THE WATERBOY. but not a lot people talk about BIG DADDY as much, and that's too bad.
Meet Sonny (Sandler), a 32-year-old law school grad on the fast track to nowhere: Rather than take a high-paying job in a high-powered New York City firm, Sonny works one night a week in a tollbooth and hangs out with the deli delivery guy (Rob Schneider). Now meet Julian (Cole and Dylan Sprouse), a cute five-year-old who appears on Sonny's doorstep with a note from his mom claiming he's the illegitimate son of Sonny's best law-school buddy Kevin (Jon Stewart), who's just left for China. No problem, thinks Sonny: A son will get his life on track and help him win back his wayward girlfriend (Kristy Swanson). But when a compromising situation arises and Sonny's girlfriend dumps him, Sonny gets desperate and has social services look for a family that can take Julian. Instead of letting Julian end up in an orphanage he volenteers to look after him, giving the kid options instead of orders, letting him dress however he likes, bathe when he wants and eat what he likes, but soon he realizes that he needs to set boundries for the kid in order for him to excell school. Sonny starts to bond with the kid. But after ignoring calls from social services, Sonny is taken to court for Fraudulently hold Julian under his biological father's name.
I think this is one of Sandler's best, not only because he's downplaying his humor impulse to stutter like Bobby Boucher, get violent like Happy Gilmore, or act childish like Billy Madison. But because he seems to have matured a bit as an actor and as a person. His humor is dry, but funny. Rob Schnider is hilarious as Nazo the delivery guy, and Steve Buscemi is uproarious as the homeless guy. Adam has really come a far way since BILLY MADISON, he's a hell of a lot more calmer, and a little bit more likable to the non-Sandler-fan community. Yes there is some bodily humor here, but it's marginal and it doesn't come from Adam, which is good because it wouldn't wear well on a man in his mid-30s as it would on a little kid. All in all, if you're not a Sandler-fan, you're better off not watching his earlier stuff first, because he can get carried away with the childish humor, so start off slow and watch BIG DADDY, THE WEDDING SINGER, or 50 FIRST DATES.
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5 of 5 people found the following review helpful:
This set the standard for both quality and storylines for other Anime, February 22, 2006
I love this show! I don't care if anybody thinks Cowboy Bebop or Samurai Champloo is better because they're not. I mean they're both great shows, but Tenchi Muyo set standards so high in terms of storytelling, imagination and emotional impact that I don't think any Anime will achieve any time soon.
This is the first and probably the best of the three other Tenchi series, Tenchi Universe and Tenchi in Tokyo are both equally sublime but this particular series is probably the most influential and least confusing. I don't know how to explain it but it has a unique "touch" to it.
Anyway, the story is about teenaged boy named Tenchi Masaki. Tenchi is the grandson of a Juraian prince named Yosho who had imprisoned a "demon" named Ryoko, who is a 5,000 year old wanted criminal that was imprisoned for 700 years by Yosho and gets accidentally released by Tenchi. But after losing a battle to Tenchi (or more importantly Tenchi's ancestral sword that comes to life when he's under attack) she moves in with him. But then Ayeka and Sasami, the 1st and 2nd princess of Jurai, come to earth in search of Ayeka's half Bother/fiance and Ryoko.
I don't want to give too much of the story away, but you'll just have to see it for yourself. Don't worry you won't be sorry. Few Animes have captured my attention or even make an impression on me, but this blew me away and continues to do so again and again. This show actually made me care about the story and the characters. There are happy moments that make you laugh, and sad moments that make you sad sympathetic. this is definitly worth your money.
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Paul's Boutique
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| Availability: This item has been discontinued by the manufacturer. |
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7 of 8 people found the following review helpful:
A record of stunning vision, maturity, and accomplishment, February 14, 2006
Such was the power of Licensed to Ill that everybody, from fans to critics, thought that not only could the Beastie Boys not top the record, but that they were destined to be a one-shot wonder. These feelings were only amplified by their messy, litigious departure from Def Jam and their flight from their beloved New York to Los Angeles, since it appeared that the Beasties had completely lost the plot.
Many critics in fact thought that Paul's Boutique was a muddled mess upon its summer release in 1989, but that's the nature of the record - it's so dense, it's bewildering at first, revealing its considerable charms with each play. To put it mildly, it's a considerable change from the hard rock of Licensed to Ill, shifting to layers of samples and beats so intertwined they move beyond psychedelic; it's a painting with sound. Paul's Boutique is a record that only could have been made in a specific time and place. Like the Rolling Stones in 1972, the Beastie Boys were in exile and pining for their home, so they made a love letter to downtown New York - which they could not have done without the Dust Brothers, a Los Angeles-based production duo who helped redefine what sampling could be with this record. Sadly, after Paul's Boutique sampling on the level of what's heard here would disappear; due to a series of lawsuits, most notably Gilbert O'Sullivan's suit against Biz Markie, the entire enterprise too cost-prohibitive and risky to perform on such a grand scale. Which is really a shame, because if ever a record could be used as incontrovertible proof that sampling is its own art form, it's Paul's Boutique.
Snatches of familiar music are scattered throughout the record - anything from Curtis Mayfield's "Superfly" and Sly Stone's "Loose Booty" to Loggins & Messina's "Your Mama Don't Dance" and the Ramones' "Suzy Is a Headbanger" - but never once are they presented in lazy, predictable ways. The Dust Brothers and Beasties weave a crazy-quilt of samples, beats, loops, and tricks, which creates a hyper-surreal alternate reality - a romanticized, funhouse reflection of New York where all pop music and culture exist on the same strata, feeding off each other, mocking each other, evolving into a wholly unique record, unlike anything that came before or after. It very well could be that its density is what alienated listeners and critics at the time; there is so much information in the music and words that it can seem impenetrable at first, but upon repeated spins it opens up slowly, assuredly, revealing more every listen.
Musically, few hip-hop records have ever been so rich; it's not just the recontextulations of familiar music via samples, it's the flow of each song and the album as a whole, culminating in the widescreen suite that closes the record. Lyrically, the Beasties have never been better - not just because their jokes are razor-sharp, but because they construct full-bodied narratives and evocative portraits of characters and places. Few pop records offer this much to savor, and if Paul's Boutique only made a modest impact upon its initial release, over time its influence could be heard through pop and rap, yet no matter how its influence was felt, it stands alone as a record of stunning vision, maturity, and accomplishment. Plus, it's a hell of a lot of fun, no matter how many times you've heard it.
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5 of 5 people found the following review helpful:
The Beastie Boys are aging very well without losing an ounce of energy, February 14, 2006
Six years is a long time, about one-and-a-half generations in pop music and a fairly large chunk out of anyone's life, two sentiments that come into play on the Beastie Boys' sixth album, 2004's To the 5 Boroughs. When the Beasties last delivered an album, it was in the summer of 1998 as the Clinton impeachment scandal was heating up, and just as that sordid saga closed the curtain on the swinging '90s, Hello Nasty served as both a culmination of the New York trio's remarkable comeback and as a capper to the alt-rock boom of the '90s, the last album of the decade to capture what the '90s actually felt like.
Not only is the political and cultural landscape of 2004 much different than that of 1998, the Beasties are a different band in a different position. They're no longer on the vanguard of pop culture, setting the trends and styles, nor do they embody their time; like it or not, the po-faced, humorless brooding of Coldplay and Wilco is an appropriate soundtrack to the drab, dark days of the early 2000s. No, the Beastie Boys are no longer groundbreakers; they're elder statesmen, operating outside of the fashions of the time. This has as much to do with maturity as it does with changing times. Now that Ad-Rock, MCA, and Mike D are all nearly 40, they're not as interested in being the world's hippest group, as evidenced by their abandonment of their Grand Royal empire at the turn of the decade, and that suspicion is borne out by To the 5 Boroughs.
Like many musicians at middle age, the Beasties are a little set in their ways, ignoring modern music nearly entirely and turning to the music of their youth for sustenance. For the Beasties, this means heavy doses of old school rap spiked with a bit of punk, which admittedly isn't all that different from the blueprints for Check Your Head, Ill Communication, and Hello Nasty, but the attack here is clean and focused, far removed from the sprawling, kaleidoscopic mosaics of their '90s records. In contrast, To the 5 Boroughs is sleek and streamlined, with all the loose ends neatly clipped and tied; even the punk influences are transformed into hip-hop, as when the Dead Boys' "Sonic Reducer" provides the fuel for "An Open Letter to NYC." Given the emphasis on hip-hop, it may be tempting to label Boroughs as an old-school homage, but that isn't accurate, since nothing here sounds like a lost side from the Sugarhill Records stable.
Still, old-school rhyme schemes and grooves do power the album, yet they're filtered through the Beasties' signature blend of absurdity, in-jokes, and pop culture, all served up in a dense, layered production so thick that it seems to boast more samples than it does. Apart from an explicit anti-Dubya political bent on some lyrics, there's nothing surprising or new here, and the cohesive, concise nature of To the 5 Boroughs only emphasizes the familiarity of the music. Familiarity can be comforting, though, particularly in troubled times, and there's a certain pleasure simply hearing the trio again after six long years of silence, particularly since the Beasties are in good form here, crafting appealing productions and spitting out more rhymes than they have since Paul's Boutique.
If there are no classics here, there's no duds, either, and given that the Beasties' pop culture aesthetic once seemed to be the territory of young men, it's rather impressive that they're maturing gracefully, turning into expert craftsmen that can deliver a satisfying listen like this. That's a subtle achievement, something that will likely not please those listeners looking for the shock of the new from a Beastie Boys record, but judged on its own musical merits, To the 5 Boroughs is a satisfying listen, and convincing evidence that the trio will be able to weather middle age well.
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6 of 6 people found the following review helpful:
a head-spinning entry, February 14, 2006
Hello Nasty, the Beastie Boys' fifth album, is a head-spinning listen loaded with analog synthesizers, old drum machines, call-and-response vocals, freestyle rhyming, futuristic sound effects, and virtuoso turntable scratching. The Beasties have long been notorious for their dense, multi-layered explosions, but Hello Nasty is their first record to build on the multi-ethnic junk culture breakthrough of Check Your Head, instead of merely replicating it.
Moving from electro-funk breakdowns to Latin-soul jams to spacey pop, Hello Nasty covers as much ground as Check Your Head or Ill Communication, but the flow is natural, like Paul's Boutique, even if the finish is retro-stylized. Hiring DJ Mixmaster Mike (one of the Invisibl Skratch Piklz) turned out to be a masterstroke; he and the Beasties created a sound that strongly recalls the spare electronic funk of the early '80s, but spiked with the samples and post-modern absurdist wit that have become their trademarks. On the surface, the sonic collages of Hello Nasty don't appear as dense as Paul's Boutique, nor is there a single as grabbing as "Sabotage," but given time, little details emerge, and each song forms its own identity.
A few stray from the course, and the ending is a little anticlimactic, but that doesn't erase the riches of Hello Nasty - the old-school kick of "Super Disco Breakin'" and "The Move"; Adam Yauch's crooning on "I Don't Know"; Lee "Scratch" Perry's cameo; and the recurring video game samples, to name just a few. The sonic adventures alone make the album noteworthy, but what makes it remarkable is how it looks to the future by looking to the past. There's no question that Hello Nasty is saturated in old-school sounds and styles, but by reviving the future-shock rock of the early '80s, the Beasties have shrewdly set themselves up for the new millennium.
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3 of 5 people found the following review helpful:
It's certainly a record that's greater than the sum of its parts , February 14, 2006
Check Your Head brought the Beastie Boys crashing back into the charts and into public consciousness, but that was only partially due to the album itself - much of its initial success was due to the cult audience that Paul's Boutique cultivated in the years since its initial flop release, a group of fans whose minds were so thoroughly blown by that record, they couldn't wait to see what came next, and this helped the record debut in the Top Ten upon its April 1992 release. This audience, perhaps somewhat unsurprisingly, was a collegiate Gen-X audience raised on Licensed to Ill and ready for the Beastie Boys to guide them through college.
As it happened, the Beasties had repositioned themselves as a lo-fi, alt-rock groove band. They had not abandoned rap, but it was no longer the foundation of their music, it was simply the most prominent in a thick pop-culture gumbo where old school rap sat comfortably with soul-jazz, hardcore punk, white-trash metal, arena rock, Bob Dylan, bossa nova, spacy pop, and hard, dirty funk. What they did abandon was the psychedelic samples of Paul's Boutique, turning toward primitive grooves they played themselves, augmented by keyboardist Money Mark and co-producer Mario Caldato, Jr..
This all means that music was the message and the rhymes, which had been pushed toward the forefront on both Licensed to Ill and Paul's Boutique, have been considerably de-emphasized (only four songs - "Jimmy James," "Pass the Mic," "Finger Lickin' Good," and "So What'cha Want" - could hold their own lyrically among their previous work). This is not a detriment, because the focus is not on the words, it's on the music, mood, and even the newfound neo-hippie political consciousness.
Check Your Head is certainly a record that's greater than the sum of its parts - individually, nearly all the tracks are good (the instrumentals sound good on their subsequent soul-jazz collection, The in Sound From Way Out), but it's the context and variety of styles that give Check Your Head its identity. It's how the old school raps give way to fuzz-toned rockers, furious punk, and cheerfully gritty, jazzy jams. As much as Paul's Boutique, this is a whirlwind tour through the Beasties' pop-culture obsessions, but instead of spinning into Technicolor fantasies, it's earth-bound D.I.Y. that makes it all seem equally accessible - which is a big reason why it turned out to be an alt-rock touchstone of the '90s, something that both set trends and predicted them.
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6 of 6 people found the following review helpful:
As influential as it is "ill", February 14, 2006
Perhaps Licensed to Ill was inevitable - a white group blending rock and rap, giving them the first number one album in hip-hop history. But that reading of the album's history gives a short shrift to the Beastie Boys; producer Rick Rubin and his label, Def Jam; and this remarkable record, since mixing metal and hip-hop isn't necessarily an easy thing to do. Just sampling and scratching Sabbath and Zeppelin to hip-hop beats does not make for an automatically good record, though there is a visceral thrill to hearing those muscular riffs put into overdrive with scratching.
But, much of that is due to the producing skills of Rick Rubin, a metalhead who formed Def Jam Records with Russell Simmons and had previously flirted with this sound on Run-D.M.C.'s Raising Hell, not to mention a few singles and one-offs with the Beasties prior to this record. He made rap rock, but to give him lone credit for Licensed to Ill (as some have) is misleading, since that very same combination would not have been as powerful, nor would it have aged so well - aged into a rock classic - if it weren't for the Beastie Boys, who fuel this record through their passion for subcultures, pop culture, jokes, and the intoxicating power of wordplay. At the time, it wasn't immediately apparent that their obnoxious patter was part of a persona (a fate that would later plague Eminem), but the years have clarified that this was a joke - although, listening to the cajoling rhymes, filled with clear parodies and absurdities, it's hard to imagine the offense that some took at the time. Which, naturally, is the credit of not just the music - they don't call it the devil's music for nothing - but the wild imagination of the Beasties, whose rhymes sear into consciousness through their gonzo humor and gleeful delivery.
There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street-corner doo wop with "Girls." Then, there is the overpowering loudness of the record - operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time.
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4 of 4 people found the following review helpful:
Where the line between humans and machines is blurred , November 26, 2005
I'll admit to you that I love to watch Adult Swim, and I'll also admit that I like certain types of anime. No, I'm not one of those nerdy card-trading Poke'mon lovers, I'm a young adult who likes to use my imagination in my down time. I like anime that's made for adults like: Big O!, Cowboy Bebop, Trigun, Outlaw Star, Tenchi and Ghost in the shell.
I was watching either watching Family Guy or Aqua Teen Hunger Force when I saw previews for this show start to air on Adult Swim, I thought thought it looked cool, it featured what looked to me like a cool futuristic take on robots and the humans that are seamlessly integrated with cybornetics to make them almost immortal, But I didn't know the half of it.
What I got was a cyber-punk version of the old black-and-white film noir mysteries. The series receives its subtitle from a theoretical mental complex attributed to the adaptation of cybernetics into the mass public. In the story, 'stand alone complex' is said to describe copies with no original and is portrayed by copycat crimes with no original criminal, or in other words, an imaginary criminal. It also refers to the structure of each episode: Each episode can be viewed independently of each other, and there is little catch-up (if at all) given in each episode to keep the viewer up to date.
Taking place in a fictional city of Japan called "Niihama-shi" (New Port City) in the year 2030, Stand Alone Complex tells the story of a special operations task-force called Public Security Section 9, or simply "Section 9". The series follows the exploits of Section 9's agents who range from ex-military to ex-police as they address each case and how it affects them on a personal level, eventually leading to the mysterious figure dubbed by the media as "The Laughing Man".
Public Security Section 9 is an elite domestic anti-crime unit tasked with the charge of preemptive prevention of technology-related acts of terrorism and crime. Their duties include response to serious cyber crimes (i.e. Cyberbrain hacking, cyber-terrorism), investigation of unlawful acts of those in public office and of high profile murder cases. From time-to-time they also serve as protection to foreign VIPs.
If you have seen the movie then you know that the TV series differs from the cinema adaptation in its focus upon issues created by the advance of technology. Instead of the intensely focused and personal examination of technology, presented is a look at society and technology as a larger whole. The series of 26 half-hour TV episodes has a larger budget of time to explore the concepts and ideas found in the original manga. In comparison to the film version, the series is considered by many to be easier to understand. Also, in comparison, the series can be found to be closer to the manga; due to the presence of some humor, the usage of the Tachikomas (Fuchikomas in the manga, and referred to simply as "tanks" in the one scene a derivant version makes an appearance in), the design of the characters, and also, the usage of the characters Paz, Bouma and Saito. Stand Alone Complex exhibits the accumulated experience and expertise of Production I.G. in their application of computer generated imagery. This is evident in their digital color grading, environmental effects, and cell-shaded computer models. Their work has been highly praised for its subtle contribution to a scene, which adds greatly to the atmosphere.
I think a lot of people will try to compare this to Cowboy Bebop as with so many other anime and mangas, but that's foolish. Stand Alone Complex is no better or worse than Cowboy Bebop, it's just a different story, different style, different sets of charactors and there places.
if you like anime or manga you'll definitely like this show. It's complex, has views on modern terrorism and how to deal with it, and not to mention the technology! Even if you don't watch anime just give a chance and take it for what it is.
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2 of 2 people found the following review helpful:
Where the line between humans and machines is blurred , November 26, 2005
I'll admit to you that I love to watch Adult Swim, and I'll also admit that I like certain types of anime. No, I'm not one of those nerdy card-trading Poke'mon lovers, I'm a young adult who likes to use my imagination in my down time. I like anime that's made for adults like: Big O!, Cowboy Bebop, Trigun, Outlaw Star, Tenchi and Ghost in the shell.
I was watching either watching Family Guy or Aqua Teen Hunger Force when I saw previews for this show start to air on Adult Swim, I thought thought it looked cool, it featured what looked to me like a cool futuristic take on robots and the humans that are seamlessly integrated with cybornetics to make them almost immortal, But I didn't know the half of it.
What I got was a cyber-punk version of the old black-and-white film noir mysteries. The series receives its subtitle from a theoretical mental complex attributed to the adaptation of cybernetics into the mass public. In the story, 'stand alone complex' is said to describe copies with no original and is portrayed by copycat crimes with no original criminal, or in other words, an imaginary criminal. It also refers to the structure of each episode: Each episode can be viewed independently of each other, and there is little catch-up (if at all) given in each episode to keep the viewer up to date.
Taking place in a fictional city of Japan called "Niihama-shi" (New Port City) in the year 2030, Stand Alone Complex tells the story of a special operations task-force called Public Security Section 9, or simply "Section 9". The series follows the exploits of Section 9's agents who range from ex-military to ex-police as they address each case and how it affects them on a personal level, eventually leading to the mysterious figure dubbed by the media as "The Laughing Man".
Public Security Section 9 is an elite domestic anti-crime unit tasked with the charge of preemptive prevention of technology-related acts of terrorism and crime. Their duties include response to serious cyber crimes (i.e. Cyberbrain hacking, cyber-terrorism), investigation of unlawful acts of those in public office and of high profile murder cases. From time-to-time they also serve as protection to foreign VIPs.
If you have seen the movie then you know that the TV series differs from the cinema adaptation in its focus upon issues created by the advance of technology. Instead of the intensely focused and personal examination of technology, presented is a look at society and technology as a larger whole. The series of 26 half-hour TV episodes has a larger budget of time to explore the concepts and ideas found in the original manga. In comparison to the film version, the series is considered by many to be easier to understand. Also, in comparison, the series can be found to be closer to the manga; due to the presence of some humor, the usage of the Tachikomas (Fuchikomas in the manga, and referred to simply as "tanks" in the one scene a derivant version makes an appearance in), the design of the characters, and also, the usage of the characters Paz, Bouma and Saito. Stand Alone Complex exhibits the accumulated experience and expertise of Production I.G. in their application of computer generated imagery. This is evident in their digital color grading, environmental effects, and cell-shaded computer models. Their work has been highly praised for its subtle contribution to a scene, which adds greatly to the atmosphere.
I think a lot of people will try to compare this to Cowboy Bebop as with so many other anime and mangas, but that's foolish. Stand Alone Complex is no better or worse than Cowboy Bebop, it's just a different story, different style, different sets of charactors and there places.
if you like anime or manga you'll definitely like this show. It's complex, has views on modern terrorism and how to deal with it, and not to mention the technology! Even if you don't watch anime just give a chance and take it for what it is.
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1 of 2 people found the following review helpful:
Where the line between humans and machines is blurred , November 26, 2005
I'll admit to you that I love to watch Adult Swim, and I'll also admit that I like certain types of anime. No, I'm not one of those nerdy card-trading Poke'mon lovers, I'm a young adult who likes to use my imagination in my down time. I like anime that's made for adults like: Big O!, Cowboy Bebop, Trigun, Outlaw Star, Tenchi and Ghost in the shell.
I was watching either watching Family Guy or Aqua Teen Hunger Force when I saw previews for this show start to air on Adult Swim, I thought thought it looked cool, it featured what looked to me like a cool futuristic take on robots and the humans that are seamlessly integrated with cybornetics to make them almost immortal, But I didn't know the half of it.
What I got was a cyber-punk version of the old black-and-white film noir mysteries. The series receives its subtitle from a theoretical mental complex attributed to the adaptation of cybernetics into the mass public. In the story, 'stand alone complex' is said to describe copies with no original and is portrayed by copycat crimes with no original criminal, or in other words, an imaginary criminal. It also refers to the structure of each episode: Each episode can be viewed independently of each other, and there is little catch-up (if at all) given in each episode to keep the viewer up to date.
Taking place in a fictional city of Japan called "Niihama-shi" (New Port City) in the year 2030, Stand Alone Complex tells the story of a special operations task-force called Public Security Section 9, or simply "Section 9". The series follows the exploits of Section 9's agents who range from ex-military to ex-police as they address each case and how it affects them on a personal level, eventually leading to the mysterious figure dubbed by the media as "The Laughing Man".
Public Security Section 9 is an elite domestic anti-crime unit tasked with the charge of preemptive prevention of technology-related acts of terrorism and crime. Their duties include response to serious cyber crimes (i.e. Cyberbrain hacking, cyber-terrorism), investigation of unlawful acts of those in public office and of high profile murder cases. From time-to-time they also serve as protection to foreign VIPs.
If you have seen the movie then you know that the TV series differs from the cinema adaptation in its focus upon issues created by the advance of technology. Instead of the intensely focused and personal examination of technology, presented is a look at society and technology as a larger whole. The series of 26 half-hour TV episodes has a larger budget of time to explore the concepts and ideas found in the original manga. In comparison to the film version, the series is considered by many to be easier to understand. Also, in comparison, the series can be found to be closer to the manga; due to the presence of some humor, the usage of the Tachikomas (Fuchikomas in the manga, and referred to simply as "tanks" in the one scene a derivant version makes an appearance in), the design of the characters, and also, the usage of the characters Paz, Bouma and Saito. Stand Alone Complex exhibits the accumulated experience and expertise of Production I.G. in their application of computer generated imagery. This is evident in their digital color grading, environmental effects, and cell-shaded computer models. Their work has been highly praised for its subtle contribution to a scene, which adds greatly to the atmosphere.
I think a lot of people will try to compare this to Cowboy Bebop as with so many other anime and mangas, but that's foolish. Stand Alone Complex is no better or worse than Cowboy Bebop, it's just a different story, different style, different sets of charactors and there places.
if you like anime or manga you'll definitely like this show. It's complex, has views on modern terrorism and how to deal with it, and not to mention the technology! Even if you don't watch anime just give a chance and take it for what it is.
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(Brockport, NY USA)
