Skip navigation

Category Archives: comparisons

Welcome to Tea ‘n History, with your hostess Felicia Angel.

Two shows have been influential to me since I first saw them are also, it appears, two that show off a great deal of support from their fans. The first I saw while it was still on the air, before cancellation and the sheer amount of fan outrage and support got it a movie. The other I’d been introduced to by a friend, and was is considered one of the animes that any fan will point to as how to make a dubbed version RIGHT.

So why compare them? Well, they’re the best, and while Firefly and Outlaw Star might have a bit more in common, Firefly and Bebop are just as fun to play with and also maintain that great sense of humor, wonderful and complex characters, and storylines that’ll make you weep.

 

Cowboy Bebop, created by Shinichiro Watanabe, is a story about a group of bounty hunters in the near future. There, bounty hunters are known as “cowboys” and often have to live paycheck to paycheck. The Earth is now barely inhabitable, as a problem with the Gate, a way of travel, near the Moon exploded and took the moon with it, resulting in meteor impacts throughout and with many of those still on Earth living underground or roving. Planets up to the moons of Jupiter are colonized and terraformed, and many have their own problems or politics, but all give money for the people they put out with a bounty on their heads. That doesn’t help the crew, though, as they are often strapped for cash and down to eating little if anything.

 

Firefly, created by Joss Whedon, is a story about a group of thieves in the far future. There, a recent war to bring all of the area under control of the Alliance has recently ended, leaving everyone technically under their control but not quite. The further in you go, the more “civilized” things become, with outer planets resembling Old Western towns or areas. The amount of work, both legal and not, does not help our crew, and they are often left without money, having to look for parts, or just hope their job actually PAYS them for once.

 

So yes, two shows that deal with sci-fi western motifs and have very different ways of dealing with them. But let’s get to business.

Both series have types of motifs that make them very different and change things, as far as comparisons go. One of those, for Bebop, is that much of the show focuses on music, as each “session” is named after a song and music often plays a role in helping to show off the animation or theme. Much if not all of the music was done by the Seatbelts, and some songs still bring tears to fans eyes for the ending or the emotion it brings up.

For Firefly, the more historical western idea and the very science-fiction points means much of the emotion and feel is in watching the characters for the little points they give. Many of the characters and even much of the show goes with the “show, don’t tell” idea and so you’re left watching many of them do things that, no matter what, feel in-character and which make you flinch as you pick up more of their history.

 

Another major difference is how Firefly and Bebop introduce their characters, though they have some wonderful ones. Bebop has two main characters – the enigmatic and always-hungry Spike Speigal, and the former cop-turned-bounty-hunter Jet Black. As they go through their travels, they pick up the rest of the crew – Ein the super-intelligent Corgi, Faye Valentine the female bounty hunter with debt so big even a casino job can’t cover it, and Radical Edward a computer-genius and all-around nut. Meeting the characters doesn’t give you everything about them either – it often takes one or more episodes to start scratching the surface about who the characters are and why they’re on the Bebop. Of the group, Jet and Faye have the most revealed about them, with Ed and Ein being a close second, though most of it is just how close they are.

Spike, meanwhile, you have ideas of where he comes from and what he did, but the timeline for it is very skewed and some don’t have many reasons behind it. We know he has a false eye, but not why. We know he worked for a triad-like group on Mars, but not why or what he did beyond murder. He has a friend who is now his enemy, and he attempted to escape the life with his girl, Julia. The name Julia now resonates both for Vicious and Spike, though in different ways, and the woman herself is only seen in flashbacks so little is know about her as well.

Firefly’s characters are many and varied, but also have interesting aspects. The main ones, in my opinion, are Capt. Mal Renolds and River Tam, though we meet Mal first. Mal is a man who is unlucky, the owner of Serenity and a Browncoat (a rebel) who’s soul purpose is to have enough money to get from point A to B, and is a bit cynical but does what needs to be done. His first mate, Zoe, is also a Browncoat and determined, quiet, and sometimes torn between her continued loyalty to Mal and her love for her husband, Serenity’s pilot named Wash…who gave us “mine is an evil laugh” while playing with toy dinosaurs and can outrun and outfly just about anyone. The one who knows Serenity best is her mechanic, Kalyee, who, as Mal informs us, is so cheerful there’s no power in the ‘verse that can change that. With them as well is a man named Shepard Book, a Shepard (preacher) who may or may not be who he says he is. Also with them is Jayne, who’s main focus is on getting money and loving guns while also wearing a hat knitted by his mom that…well…go google it. Rounding up the crew before the siblings Tam is Inara, a Companion who is only partly connected to the crew but does try to be a part of them all the same.

The siblings Tam are elder brother Simon and younger sister River. Simon is a talented doctor, young and considered one of the best of his class if not on their home planet. River is his often-overlooked (by their parents) but much-loved sister that is talented in anything she decides to do, mostly though in dancing. She is also the very enigmatic one, as while she is certifiably crazy, the reasons for that are complex and frightening enough that it took fourteen episodes and a movie to figure it out. She’s wanted by the Alliance and was possibly tortured by them as well, with only her brother caring enough to save her, and now without a career or hope because of his love for her.

 

As I said before, both shows are loved by their fans and often are used in the “this is how you do things” arguments. Cowboy Bebop is known for this energetic opening, smooth songs that cover every genre and near-crazy antics as the crew attempts to get money and just deal with their lives and own problems. Past ghosts and the “actual plot” points of the series often make their appearances in two-part episodes or in ones that end very differently then what you’d expect, and each is given time to show their past as well as figure out what they’ll do in the future. The dub is perhaps the best done, and the characters are well-known and loved.

Firefly’s opening is appropriate for the series, the music used a combination and the people just as crazy as the crew of the other ship. They to deal with ghosts from the past and “actual plot”, most of it focusing around River and her importance to people in the Alliance, and like Bebop, it only takes a mention to cause a great deal of crying. While Bebop had a full run, Firefly did not, and even their movies are set in different periods – Bebop’s just before the ending of the series, and Firefly’s to hopefully tie up a few things left behind.

 

Firefly and Cowboy Bebop are perhaps some of the best shows anyone can watch in the genre – both have creators known for their wonderful shows, openings that match the themes in the shows, and a cast of characters with someone from everyone to love. There are, of course, differences, but much of the basics remain, and many of the fans will be happy with them for years to come.

 

Hello and welcome to Tea ‘n History, with your hostess, Felicia Angel.

Now, I’m a major Greek mythology geek. I got into it when I was in 2nd grade and it’s never really left me. The stories are interesting, the gods are fairly cool and recognizable if you grew up in any of Western Civilization, and some of it is romantic while the rest is…well, you need a flow-chart to figure some of the lineages out.

One of my favorite movies to watch when I was younger was Clash of the Titans, a 1981 movie with creatures done by Ray Harryhausen and fairly good effects. It was one of two that he did with Greek Myths, the other being Jason and the Argonauts, and both being well-received and still having a good fanbase.

So in 2010, when I learned a remake of Clash of the Titans was going to be made, I was happy. The fact that I”m also a Liam Neeson fangirl also helped. Him as Zeus and Aslan? WIN!

Then I saw the movie.

At which point I disowned it.

Then burned it.

Then threw it into the deepest part of the Underworld and hoped it stayed there.

However, having rediscovered my love for all things Harryhausen (and a $5 Walmart bin version of Clash of the Titans -1981), I felt it was my duty to point out the good and bad parts of them…not completely a la the Nostalgia Critic’s “Old vs. New”, but in my own way.

…which mostly includes destroy the new one after…rewatching…it…

This may hurt a bit.

So, first, backstory:

Both films have a (general) idea of the history of Perseus, a demi-god who goes to find Medusa and cut off her head. Reasons for it, in the original, mostly are given as “I don’t have anything to give my mom on her wedding day and the douche who’s marrying her said he wanted it”. With that, and because as the son of Zeus he instantly gets cheat codes, Perseus is given Hades’ helm (a cap of invisibility), a very reflective shield, Hermes’ sandals (fly anywhere) and a sword made out of something that sounds like the metal that went into Wolverine’s claws. He’s told to go find the Graece, sisters of the Gorgons (there is more then one) to find out where they’re hiding, and to kill the only mortal one, Medusa. He does so, and on the way back, spots a princess about to be sacrificed because her mother said something about her being as pretty as goddess of the sea, which pissed off the sea god enough he’s going to cause them problems and demand the daughter, Andromeda, be sacrificed to a sea-monster, Cetus.

As Medusa’s head gives Perseus enough to be in God Cheat Mode, he kills the monster, frees Andromeda, and heads home to free his mother as well. He also, at one point or earlier, learned that he was fathered by Zeus due to his mother being locked into a tower after his grandfather, the king of Argos, found out that if his daughter gave birth, he wasn’t long for this world. So, lock her in a tall tower were only the gods, who are known for changing forms and shapes and randomly seducing/raping/sexing up women, can see her.

…Brilliant idea.

Zeus comes down in a beam of golden light and, 9 months later, Perseus is born. At which point the king of Argos shows how much in common with a Bond villain he has by locking Perseus and his mother in a box and dumping it into the ocean.

As the first few paragraphs detailed Perseus and his mother being alive, that worked out really well, didn’t it?

Now, the movies:

Both movies take…liberties…with the original story of Perseus, but that’s to be expected as what I gave you also demands a lot of backstory for some parts, like who certain gods are in relation to Perseus (half-siblings, mostly, or uncles/aunts), Medusa (angry at her for doing another god in their temple), and some of the mythological beasts that appear. However, the 2010 version does it’s best to not only not tell the stories well, but to really mess it up as far as motivations go.

The original Clash of the Titans had Perseus growing up on an idyllic island with his mother, her dying before the film begins, and generally not being messed with until the goddess Thetis, angry at her son’s deformity after he’d done a few too many things to piss off Zeus, sets him down in Jota, the kingdom where her son is currently tormenting his old fiancee, Andromeda. Perseus is given special items by the goddesses Aphrodite, Thetis (she’s not really playing one side or the other, just hoping her son does what he can to redeem himself), Hera, and Athena, which mostly have a magical helmet of invisibility (except for footprints), a sword, and a shield, as well as told where to find Pegasus, the last winged horse, for his steed. He figures out how to free Andromeda from Thetis’ son, then has to defeat the Kraken because…well, Andromeda’s mother is a bit of an idiot and went around saying her daughter was prettier then the patron goddess.

In front of said patron goddess’ statue.

So to save his beloved, Perseus travels to the Stygian witches (evil version of the Graece) and then to near the underworld to defeat Medusa and bring back her head so he can defeat the Kraken. He does so, and the two live happily ever after and are put in the stars.

Yays happy endings!

 

The remake Clash of the Titans has Perseus growing up doubting who he is because he was found with a dead mother in a box out at sea. His family is somewhat divided on if thanking or cursing the gods is in order for failed harvest of fish, and end up dying when Hades attacks some men for being dicks and throwing down a statue dedicated to Zeus. Hades, still pissed for his lot after helping win the war against the Titans, decides to play both sides by having men start to doubt the gods, as well as having the gods kill the humans. Perseus, as a demi-god, is not easily killed and, with Andromeda’s mother saying something stupid (because it’s her lot in the story, though in this one the father joins in as well), Perseus must head out to kill Medusa and save the kingdom from the evil Kraken…after being beaten up because he has god-blood in him (seriously, what the hell?). Along the way, he is offered up a winged horse, and all the other cool things by his dad, Zeus, but says ‘no’ to them because he is a man and can do it himself.

He also meet Io who has nothing to do with the story but to show how much of a player and a dick Zeus can be while hiding his affairs from a very vengeful wife.

Finally accepting that he’s part god and deserves a winged horse, Perseus rides back and saves both Olympus from Hades’ schemes and Andromeda from being eaten. Then thinks about running off from being a king to find adventures with his love-forever, Io.

….yays?

 

You see the problem. The story itself doesn’t really have a ‘bad guy’ but both try to create one: the original created Calibos, Thetis son who is punished and becomes vengeful, but that you feel a bit for (just a tiny, tiny bit) when he speaks to Andromeda’s spirit. Afterwards, his actions are just that of a straight-up villain who wants things his way and the story doesn’t really suffer him being in the story or not, save for the times he makes things go from dull to action.

Hades as the antagonist is…well, seriously, I’ve never seen him as an antagonist. The two movies I’ve known of him as the major antagonist (Disney’s Hercules and this remake) just make him come off as a very one-dimensional and jealous character, as well as not that much of a threat. Kingdom Hearts makes him a better antagonist!

In both movies, Perseus’ lineage becomes important to his ultimate purpose. In the original, it’s because he’s the son of Zeus and getting some special-treatment that Thetis sends him to Jota, and later it’s what earns him a mechanical all-knowing owl, special equipment, and in general added special treatment, but it’s never quite hand-holding either. He’s put in situations where he has to figure things out for himself or have someone with him help figure it out, but he’s ready to ask for help and take what’s given to him, or to do what seems impossible so he can get things done. He’s a bit optimistic but not to the point of being annoying, and in general is also likable. In the remake, Perseus has a good reason for disliking a god, but not all of them, and is obviously not one who wants to get into trouble, despite the fact that his lineage demands it, though the people of Argos are a bit…annoying when it comes to treatment of one person who might be able to save them (believing himself to be a demi-god or not). Perseus’ backstory is also a mix of his and that of Hercules (which makes a better story, I guess, then “Zeus went to sex up a lady in a tower because she was alone and pretty”) along with a continued line of “men challenging the gods and the gods saying ‘really?'”. Io is also given a story that isn’t her own (she didn’t deny the love to a god and become cursed with everlasting life…she went with a god and was turned into a cow to be hidden from a jealous goddess), and in general the only person in this movie that I even like a bit is Andromeda, and only because she at least shows SENSE. Perseus attempting to be Kratos doesn’t quite work, them being all “we can do this for we are men…right up until those particular monsters, then we’re screwed” doesn’t quite work, and Perseus isn’t really a good example for a hero or even someone I’d follow in the story.

 

The base comparison is: the newer Clash of the Titans isn’t that good of a movie. It attempts to have some parts of the old and show it off, but in general is a worst movie for being the ‘gritty revisit’. 300 and the God of War games have more in common with Greek mythology then this does, and in God of War, you spend most of it killing the gods. The addition of Io as the ‘wise woman’ and love-interest for sake of a triangle doesn’t help, and neither does Perseus’ stigma for being a demi-god to a group of people who just had most of their men killed except that guy and he wasn’t even fighting. If you have someone who’s purpose in life is to actually be able to defeat or become a god, you take their help and don’t torture them. Even Hercules: The Legendary Journey got this right!

Originally I thought it was nostalgia creeping up and telling me that this wasn’t that good of a movie compared to the old one, bathed in the light of childhood and Greek Mythology geekdom, but after rewatching the two, I must say that I know where my annoyance lies. There are good points to the new one – the way they make the Gods, Neeson not seeming to be there and phoning in a few lines like Sir Lawrence Olivier was doing, slightly better special effects (which is probably the worst thing to think of…they’re only slightly better after nearly 30 years? FAIL), but as far as telling the story and having characters that, even with little backstory you care about, the 1981 version is far superior.

So is Percy Jackson and the Olympians. So is God of War…and Hercules: The Legendary Journey.

Because even they didn’t give up winged horses.

A Comparison of Dystopias: Nineteen Eighty-Four and Brave New World

Welcome to Tea ‘n History, I’m your blogging host, Felicia Angel.

When asked about dystopias, often two sets come to mind: some sort of government or corporation has control over the society and everyone is generally miserable, or one where some sort of government or corporation has control over society and everyone doesn’t care because of drugs or conditioning to make them not. Often, a dystopia is a cautionary tale of what will happen if you allow something to take over, and with the ‘something’ being anything from a certain type of ‘ism’ to it’s counter, and thus you have everything in film and movies that involve some sort of dystopia fall into one of the two ideas put up above: it’s there and everyone is miserable but that’s how things are, or it’s there and everyone’s fine with it because that’s how things are.

Dystopias in general are a relatively new form of fiction, though, having had their start in the 1800s while the word itself, coined by Thomas More, appears in 1516 (http://en.wikipedia.org/wiki/Dystopia) *note: I said I would cite, so don’t be surprised*. The basics, again according to the Wiki and with an additional an online dictionary (http://www.thefreedictionary.com/dystopia) is that dystopias are Not Good.

However, two particular dystopias stand out, mostly on the fact of being banned often as well as taught and either loved or hated, but also as templates of what I addressed earlier. As this is dealing with history, we’ll go with the one written first, and with the publish date of 1932, that’s the one where we are controlled by sex, drugs, and pop music!

I’m serious.

Brave New World, by Aldous Huxley
Warns You Of: Americanization, the Industrial Revolution, sexual promiscuity, ‘talkies’ (movies), the impact of the First World War and the Russian Revolution of 1917, the loss of identity, and others

 Brave New World is an odd addition as it’s very much both prophetic and downright depressing at times, as well as being one of the first dystopia novels written by Huxley. The story revolves mostly around a society in the future where everyone is happy. They also don’t have a right to choose anything for themselves, be alone, be exclusive with one partner, not buy stuff, live past 50, have a family, be of a lower or higher social status then others they grew up with, read what they want, study what they want, know about history, another language or languages, know about another culture, have parents, and various other things. If you can get past the first few chapters without hating the way it’s written or getting confused, you could easily enjoy some parts of it.

The characters we follow are Bernard Marx, who is original in the fact that he is unhappy and lonely in the world, and also shorter then most in his caste, and wishes to be more ‘mature’ then his fellow citizens. However, he also wants to be like them so he’s generally a sometimes unlikable character; Lenina, a Beta who follows social norms and so is the one we see how most people in society think, and Helmholtz, Bernard’s friend who is also miserable, but because he’s just too good and has gotten bored with life.

These are NOT our protagonists. We don’t meet him until Bernard asks Lenina to go to a Savage Reservation, one of the (possibly) many in the world where those who didn’t want to become like the outside world now life and die. This particular one is in America, and while there they meet John, a Savage and the son of a Linda, a Beta who was stuck on the Reservation because she had John. Bernard soon realizes that John’s father (a dirty word in the society, almost as bad as saying ‘mother’) is a head of Hatcheries and technically Bernard’s boss who dislikes him and will probably fire him, so he gets John and Linda off the Reservation.

John is what I like to consider a grab-bag of psychological issues, having grown up in a society that is nearly the anti-thesis to the one he’s brought into or heard about. His early knowledge of sex and drugs makes him adverse to both, and his life on the Reservation, as well as his reading of Shakespeare, does not help him mix with the ‘brave new world’ he originally was happy about seeing, but now mutters the line with sarcasm. Sadly, this particular social test does not end well for anyone.

One of the things about Brave New World is that many of the ideas, then, were proven somewhat true (he predicted Fetal Alcohol Syndrome), but in general, the whole story sometimes leaves a bad taste in your mouth. The society given is one of stagnation and it appears to be unable to change. Many suggest that the way to ‘revolution’ lies with those on the Reservation, but with them stuck behind electric fences, as well as apparently unwilling to try to make that change, and also not seen by many of the population outside of films, it seems that something larger must happen, and is probably never going to happen.

Moving on to our world of the often quoted…

Nineteen Eighty-Four, by George Orwell
Warns You Of: Socialism/Communism, as from Soviet Russia

One of the most-read high school books, as well as the most banned, Orwell’s Nineteen Eighty-Four is also one of the most influential, creating various tag lines and ideas that appear in songs, other literature, movies, and even news. Helping in cast the term ‘Orwellian’, this book is indeed a great deal different from our last one.

Set in (possibly) 1984, the story itself centers around an actual protagonist named Winston Smith, a member of the Ministry of Truth, or Minitrue, with the job of ensuring the Party is always right. As Wikipedia and others have examples of how well Soviet Russia did this before there was even Photoshop, I’m going to leave it to you to find.

Despite being a member of the Party, Winston is still driven to rebel in his own ways, mostly by keeping a journal and going off to the ‘Prolies’ area for sex. He does notice odd things, such as the ‘decrease’ of sugar rations becoming an ‘increase’, as well as others because, well, he has to notice that. He also gets in with a young woman, Julia, who despite her wearing of a red band saying she is not about to have sex ever, is a…well, a liar. A ‘rebel from the waist down’, if you will.

As anyone who can guess by the way dystopias work, things don’t end well for Winston or Julia, as they are found out and tortured by the Ministry of Love, or Miniluv. The book ends on a down note, but at the same time is, in my historical mind, a bit happier then it’s earlier counterpart.

While Nineteen Eighty-Four has is down moments and envisions a world in perpetual war and chaos in order to control the majority of the population, it’s salvation seems more likely then that of Brave New World. Whereas Huxley’s vision of a dystopia keeps the world happy and with those who would or could lead a rebellion on islands (or in charge and under scrutiny by nine others of similar minds and problems), Orwell’s vision is based on a real-world or similar government that has to either change or fall due to various reasons. Those in charge of the Party, as well as Big Brother himself, will possibly fall one day due to lack of funds and food, which is the quickest way to a rebellion of the masses. With the ending of both, while there is no hope or little for our protagonists, there is some for the world by the end of Nineteen Eighty-Four, but little for Brave New World.

Both are highly recommended for dystopian literature, though only one has a very good movie attached to it (which is also recommended for those who watched V for Vendetta). Both are some of the more influential works of literature, and more often looked at with comparisons to other dystopian literature or films.

Well, with that heavy-lifting and somewhat depressing item done, time to move on and out. Thank you for your time, and I hope to see you again!