Archive for ‘bechdel test: pass’

December 14, 2014

Yukio Ninagawa: “The Greeks” (Screencaps #3)

Following my review of Yukio Ninagawa’s The Greeks, this post contains screencaps from The Gods, which includes “Helen,” “Orestes,” “Andromache” and “Iphigenia in Tauris.” Read on for seventy-two screencaps!

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December 14, 2014

Yukio Ninagawa: “The Greeks” (Screencaps #2)

Following my review of Yukio Ninagawa’s The Greeks, this post contains screencaps from The Murders, which includes “Hecuba,” “Agamemnon” and “Electra.” Read on for sixty screencaps!

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December 14, 2014

Yukio Ninagawa: “The Greeks” (Screencaps #1)

Following my review of Yukio Ninagawa’s The Greeks, this post contains screencaps from The War, which includes the prologue, “Iphigenia in Aulis,” “Achilles,” and “The Trojan Women.” Read on for forty-three screencaps!

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December 14, 2014

Yukio Ninagawa: “The Greeks”

The Greeks

Play
Japanese Title: グリークス (Guriikusu)
Performed: 2000, Japan
DVD Released: 2008
Run Time: 470 minutes (That’s 7 hours and 50 minutes!)
Starring: Mikijiro Hira (Agamemnon), Seiichi Tanabe (Achilles), Kikunosuke Onoe (Orestes), Rei Asami (Andromache), Kayoko Shiraishi (Clytemnestra), Misako Watanabe (Hecuba)

Synopsis: When John Barton and Kenneth Cavander set out to adapt nine Greek tragedies (and the Iliad) into one long play, the result was The Greeks, which tells the story of three families – Agamemnon’s, Achilles’, and Priam’s – over the seventeen years surrounding the Trojan War. The play’s three acts and the tragedies they contain are:

· The War: “Iphigenia in Aulis” (Euripides), “Achilles” (based on Homer’s Iliad), “The Trojan Women” (Euripides)

· The Murders: “Hecuba” (Euripides), “Agamemnon” (Aeschylus), “Electra” (Sophocles)

· The Gods: “Helen,” “Orestes,” “Andromache,” “Iphigenia in Tauris” (all by Euripides)

Director Yukio Ninagawa’s 2000 production of The Greeks, for which he won a Kinokuniya Theatre Award (source), had a principal cast of twenty-seven and was an all-day affair that, with intermissions, ran ten and a half hours (source). This post is about that production’s 2008 three-disc DVD release.

My Thoughts: Apparently I didn’t feel that a Japanese production of Shakespeare was quite obscure enough for this English blog, because today I’m here to post about a fourteen-year-old Japanese production of Greek tragedy. A fourteen-year-old Japanese production of Greek tragedy that’s eight hours long.

Every time I remember that The Greeks exists I am kind of blown away by it. Putting on a performance of it must take so much more work at every level than a regular-sized play. As I understand it, the full play is performed only very rarely, although the individual acts are occasionally performed by themselves. I am extremely glad that at least one full performance has made it onto DVD. Not a word of a lie, this is probably my favourite of the Trojan War-related DVDs that I own. I love that it covers such a long time period and includes so many characters, but keeps a tight enough focus that it all feels like one story. I think Barton and Cavander achieved the tricky balance of staying true to the original plays while cutting, adding, and shuffling just enough to create a cohesive story that’s accessible to audiences who might only be vaguely familiar with Greek mythology. Meanwhile Ninagawa’s production, with its sparse sets and dark colours, emphasizes the brutal world that the characters inhabit.

You can check out my three screencap posts (The War, The Murders, The Gods) for more specific comments, but here are some other general thoughts I have about this production:

· “Achilles,” based on Homer’s Iliad, is the only segment not adapted from an existing play. The first time I watched it, I was impressed by how seamlessly it fits in with the rest; the second time, I realized there are actually two huge differences between it and the other nine plays of The Greeks: not only does it not have any lines for the chorus, but it also has a much smaller female presence than any of the other plays. What’s amazing to me when I say that is that it’s not like “Achilles” doesn’t feature any female characters – Thetis speaks in four scenes and Briseis in one, and for many works even today that would be considered a decent amount. But compared to the rest of the plays in The Greeks, that’s seriously nothing. Smarter people than me have debated the merits of the various female characters in Greek tragedy, but just in terms of number of lines and time spent onstage, I am constantly impressed by how huge these roles are.

· My absolute favourite female character in Ninagawa’s production is Electra, played by Shinobu Terajima. All of the acting in this production is top quality, but Terajima especially throws herself into her character. You can tell by the way she speaks that she holds herself in high esteem and never doubts that she’s right; you can tell by the way she moves and by some of the poses she gets herself into that she’s been living wild for several years. And her facial expressions are all so intense! I really enjoy watching her. It’s also amazing to me to think about The Greeks’ Electra after having read the part in Simon Goldhill’s How to Stage Greek Tragedy Today where actresses talk about how demanding it is to play Sophocles’ Electra. Whoever plays Electra in The Greeks doesn’t just have to play Sophocles’ Electra – an hour later, she has to play Euripides’ Electra in “Orestes,” which may well be just as demanding a role. On top of that, in this production, Terajima occasionally appears as a member of the chorus! And she’s not the only one who appears in multiple segments or plays multiple roles. I really have a huge amount of respect for everyone in this cast. Special mention also to Mikijiro Hira, because I found his Agamemnon surprisingly sympathetic, even when he was doing terrible things.

· One look at almost any of the costumes in this production and you’d know they weren’t striving for historical accuracy. I think they were hoping to evoke an atmosphere of the ancient past, not to recreate a particular era. But things get a little strange sometimes when medieval Japanese or even modern influences slip in – Helen sips a beer and flips through a fashion magazine, Apollo dresses like a character from a kabuki play, the sounds of modern warfare end both “The Trojan Women” and “Orestes.” I don’t dislike these other influences, but I’m not sure why they weren’t used more consistently throughout the whole play. There is one thing about the costumes that I really love, however, and that’s the threads that almost everyone wears, sometimes in their hair, sometimes on their clothing, sometimes dangling from their wrists. Greek characters have red threads and Trojan characters have blue threads, and it does amuse me when everyone is colour-coded, but really I just think they look cool. It’s also interesting to see whose costumes don’t fit this pattern. Helen, for example, never wears anything red or blue at all.

· I love the very fact that The Greeks exists so much that I hesitate to admit there are parts I don’t love … but I do wish there was a bit more to the sets. Ninagawa’s minimalist style is fine in shorter productions, but after eight hours I find I’m pretty tired of staring at the same empty black stage. Some of the tragedies have more set dressing than others, but there are some with hilariously little – I think “Hecuba” only gets a rock. I also don’t love that The Greeks ends with ten minutes of Athena and the chorus discussing the nature of happiness. Maybe my opinion of this will change as I become more familiar with Greek tragedy, because at the moment I’m still not really sure what to make of the chorus. I’m okay with them in all of their other appearances, but as soon as the main characters leave the stage at the end of the last tragedy my desire to watch ten minutes of philosophising definitely takes a hit.

· The above point might lead you to believe that I have watched all three DVDs in a row, but so far I haven’t. I would love to try it one day, if it weren’t for “The Trojan Women.” According to this report from someone who went to the play, following “The Trojan Women” there was a half-hour intermission. I’m not sure a mere thirty minutes would be long enough for me to remember what happiness feels like.

· The Greeks ends with a list of the names of certain Trojan War heroes spoken in unison by the chorus. The last hero named is Diomedes, who neither appears nor is mentioned anywhere else in the play. I’m not sure what Barton and Cavander’s intention with this was, but it always makes me think about how the story of the Trojan War, its beginnings and its aftermath is so huge that even an eight-hour play can only begin to tell it. (You may have noticed that The Greeks doesn’t even include all of the surviving Trojan War tragedies, omitting both Sophocles’ “Ajax” and his “Philoctetes.”) This is not really a comment on The Greeks, but it does remind me that one of the things I love so much about the Trojan War myth is how vast it is.

· I feel like I should apologize for heaping so much praise on something that (I’m rudely assuming) has a language barrier for many of my readers. If you ever have the chance to see a production of The Greeks, I would absolutely recommend it. I definitely see Ninagawa’s production becoming a frequent rewatch for me.

Other Greeks posts: The War screencaps; The Murders screencaps; The Gods screencaps

Buy it at: Amazon.co.jp, CDJapan. Please note that the DVDs are Region 2 and have no subtitles in any language.

November 20, 2014

Mini-Reviews #1

All three of the books in this post are worthy of having a big long rambling post to themselves. Alas, I have been terrible at staying on top of my reviews this year, with the result that I have forgotten much of what I wanted to ramble about! So, with apologies to my readers and to the authors below, I present my first (hopefully of very few) post of mini-reviews.

~*~

Cassandra Princess of TroyHilary Bailey: Cassandra, Princess of Troy

Novel
Pages: 325
First Published: 1993

My Thoughts: I reread this book in January and put off posting about it forever because I was afraid I wouldn’t be able to properly express how much I love it. The first time I read it, I declared it to be my favourite Trojan War novel. Now I would perhaps say it is my second favourite (after The Song of Achilles, which chewed up my emotions and spat them back out), but it is a very close second.

The novel is narrated by Cassandra, who has survived the war and is living in Greece. The chapters alternate between her present life and her memories of the war, although later in the book there are also chapters from Clytemnestra’s point of view. Occasionally, there are also one-shot chapters narrated by other characters, which actually might be my least favourite part of the book because it’s never explained how these chapters ended up in what is supposed to be Cassandra’s memoir.

Ignoring those questionable one-shot chapters, one of the things I love most about this book is how realistic it feels. Bailey’s Troy is smaller and less imposing than it’s usually portrayed, the lives of the princes not as glamorous (Hector works on a farm!), and the focus on the royal family not as tight. Regular citizens are mentioned frequently, which helps the city feel more populated and alive. Some of the novel’s most haunting images are of regular people struggling to survive a war. Bailey’s depiction of the city under siege is fantastic – she considers even the smallest details and uses them to ground her story in reality. We see characters going hungry, turning on each other, facing danger every time they leave the city. I also like how committed Bailey is to keeping Cassandra’s viewpoint realistic. Well that probably doesn’t at all say what I want it to, but what I mean is I really like how some of the most famous events of the Trojan War are described in just one sentence, because Cassandra wasn’t there to witness them.

I also really like Paris in this book, which is something I rarely get to say! I think Bailey builds him up just enough as a good older brother in the beginning that I was able to feel sympathy for him later.

Cassandra, Princess of Troy is a book I recommend without reserve.

Buy it at: Amazon.com, Amazon.ca

~*~

How to Stage Greek Tragedy TodaySimon Goldhill: How to Stage Greek Tragedy Today

Non-fiction
Pages: 248
First Published: 2007

My Thoughts: The title of this book might lead you to think it’s a strict step-by-step guide, but it isn’t at all. The book is divided into six chapters, each covering a major issue that must be considered by anyone staging a modern production of a Greek tragedy. As listed on the back of the book, these six issues are: “the staging space and concept of the play; the use of the chorus; the actor’s role in an unfamiliar style of performance; the place of politics in tragedy; the question of translation; and the treatment of gods, monsters, and other strange characters of the ancient world.” Goldhill discusses how each of these would have been handled in their original context, then analyzes the approaches taken by a variety of recent productions in the U.S. and western Europe. He pretty plainly states which productions he thinks were successful and which he thinks failed, but I really liked reading about all of them – it definitely made me want to watch more Greek tragedy!

This book’s writing style is a bit of an odd mix of ~fairly casual~ and ~so academic I had to put effort into understanding it~, but it still grabbed me enough that I finished it in a weekend. Goldhill brings up a lot of points that I had never considered before, and I think I learned just as much about how Greek tragedy was originally performed as I did about how it might be performed today. The chapter that surprised me the most was the one about translation; I had never even realized that a translation style might be chosen based on the director’s overall goals for the production. Goldhill shows us three different translations of Cassandra’s speech from Aeschylus’ “Agamemnon,” and I was kind of fascinated by the three completely different styles. I never thought there could be so many different possibilities in the translation alone!

I also liked that Goldhill interviewed people who have been involved in modern productions of Greek tragedy. He quotes two different actresses talking about how sick they were after finishing a run as the title character in Sophocles’ “Electra”! Another thing I never realized is how intense that role must be.

Buy it at: Amazon.com, Amazon.ca

~*~

David A. Traill: Schliemann of Troy: Treasure and Deceit

Non-fiction
Pages: 365
First Published: 1995

My Thoughts: This is a biography of Heinrich Schliemann, and somehow I think it’s the first proper Schliemann biography I’ve actually read?! How did that happen??

I would not be surprised if this book is a controversial one, seeing as how it takes one of the most famous archaeologists in history and shows him in a less than flattering light. Having said that, however, I really think Traill is careful to treat Schliemann as fairly as possible, and I don’t think his goal in writing this book was to tarnish Schliemann’s name. He provides sources for everything he says, most of them from Schliemann’s own writings. One thing I really liked about this book is how frequently Traill quotes primary sources. He is constantly examining and comparing Schliemann’s diary, his letters, his published books, and the writings of his friends, family, and colleagues in an attempt to figure out where Schliemann was telling the truth and where he was fudging or fabricating. The book includes large portions of these primary sources so readers can examine them as well. I can’t claim to be an expert on Schliemann, but I found Traill’s interpretations very thorough and convincing. I can’t recommend this book if you want to like Schliemann, but I got a lot out of it and enjoyed reading it.

Buy it at: Amazon.com, Amazon.ca

August 4, 2014

Clemence McLaren: “Inside the Walls of Troy”

Inside the Walls of Troy  Inside the Walls of Troy

We had accumulated six years of memories, Helen and I – of teaching each other our languages and laughing at the mistakes, of sharing patterns at the loom and and playing knucklebones with Laodice and Polyxena during the long afternoons. I still found such women’s games pointless. But I loved to listen to Helen’s stories, to hear her laughter. Even as angry as I was, I knew how I would miss her.

YA Novel
Pages: 199
First Published: 1996

Synopsis: Helen is renowned as the most beautiful woman in the world. Her divine beauty will lead her to a lifetime of adventure – from being kidnapped at age twelve, through her arranged marriage, to a passionate affair that will ultimately bring about the Trojan War.

Cassandra, the sister of Helen’s true love, has the gift, or curse, of predicting the future. When she foresees the ruin of her family and city, caused by Helen’s arrival in Troy, she is outraged. Yet Cassandra cannot help being drawn to Helen, and as the war rages around them, the two young women develop a deep friendship.

Through their eyes, the classic tale of the Trojan War and its mythic cast of heroes is romantically, grippingly told.

“Crazy woman!” he screamed. “How long must we endure your ravings? You would destroy a gift from the immortals?”
“You’re eating your last food!” I shouted back. “You’re already starting down a road used by ghosts.”

Review: Here it is, my friends. The entire reason I am a Trojan War fangirl. I bought this book when I was thirteen because I was surprised to see a novel about something we’d (briefly) talked about in my seventh grade social studies class. I read it in one day while I was home sick from school, and then I was awake half the night just thinking about it. Within a year, I had read at least four more books about the Trojan War and was pretty well hooked.

Fourteen years have passed since then, and while this book has always had pride of place as the book that started my interest in the Trojan War (and Greek mythology in general), I had never reread it. Now that I’m trying to (re)read and post about all of the Trojan War books I own (instead of buying new ones all the time as is my wont), I decided that it was time.

I guess it’s probably a good thing that my tastes have changed since I was thirteen, is the roundabout way I will begin this review. Let’s start with the positives. I like that it passes the Bechdel Test within the first two pages. I like its portrayal of Theseus, although he’s very much the sort of Theseus that could only exist in YA. This might be the only novel I’ve read so far where Polyxena and Helenus get to fulfill their roles as major influences on the course of the war, which is awesome, although I didn’t love how those storylines were handled. And in retrospect, I’m glad that the first Trojan War novel I read follows the mythology and the Iliad so closely; in that way at least, it’s a good introduction to the story.

Unfortunately, although all the important parts of the story are there, the novel suffers quite a bit from being so short. It covers thirteen years in less than two hundred pages, and only eighty of those pages are dedicated to the war from the arrival of the Greeks to the fall. The narration rushes from one event to the next and even major characters feel underdeveloped. My biggest complaint is about Paris. The book is narrated in the first person, with Helen narrating the first sixty-five pages and Cassandra the rest. Unfortunately, we barely see Paris from Helen’s point of view before we spend the rest of the book seeing him from Cassandra’s. Cassandra openly dislikes him, disapproves of his actions, and refers to him as “mean-spirited.” It’s frustrating to me that the book’s first narrator falls in love with someone we only see in a negative light. Even Helen speaks ill of him, as she does in the Iliad, and worse than that, she’s “afraid to be alone with him”! But we’re supposed to believe they’re in love? The only reasons given for their being together are a) Aphrodite decided they would be (but whether this book considers the gods to exist or not is unclear), and b) they look alike (I’m not joking). Maybe I wouldn’t be so bothered by all of this except that I’m tired of YA novels that try to convince us that their terrible relationships are beautiful and romantic.

Perhaps also due to the short length of the book, the worldbuilding is very sparse. The author’s note seems to indicate that McLaren did her research, but all that shows on the page is what the average person might know about the ancient world. Wine! Kohl! Spears! The geography is also very vague and there are whole scenes where we aren’t told where the characters are, which makes things hard to picture.

Another thing that struck me as weird comes when (SPOILERS??) Cassandra learns that Agamemnon has claimed her as his war prize:

“You’ve never even noticed him fighting his duels right below the gate where you stood,” Helenus was saying … “He’s been trying to get your attention for years.”

McLaren has just reduced the horror of Agamemnon taking Cassandra as his slave to Agamemnon trying out for the football team so that Cassandra will notice him.

So clearly I’m no longer as completely taken with Inside the Walls of Troy as I was when I was thirteen, but I think I’m okay with that. I will forever be grateful to this book for introducing me to the Trojan War, and I’ll be happy to pass it on in the hope that it will have a similar effect on another reader’s life.

Buy it at: Amazon.com, Amazon.ca

“Listen, girl, Menelaus will be an impeccable husband. He’s a good man, if somewhat lacking in imagination, and he loves you more than he should.” Theseus reached for my hands. “Here is the last piece of advice I’ll ever give you: Be satisfied with what you’ve got.”

July 24, 2014

Eric Shanower: “Age of Bronze: Betrayal, Part Two”

Age of Bronze: Betrayal, Part Two

Graphic Novel
Pages: 175
First Published: 2013

Synopsis: Winner of five Eisner Awards, including Best Writer/Artist in both 2001 and 2003, and the Gran Guinigi for Best Serial Comic 2006, Eric Shanower presents part two of Betrayal, the third of seven volumes telling the complete story of the Trojan War.

Ships hit the beach. Battle cries ring out. Warriors leap ashore to meet the chariots of the mighty Trojan army. Achilles and his cousin Ajax clash with the Trojan prince Hektor and his ally, King Sarpedon of Lykia. Dust rises as men fall dead, all for the sake of one woman, Helen, who watches the Trojan War from high on the walls of Troy, safe for the present.

Within the walls, conniving Pandarus hopes to avoid paying for his brother’s betrayal of the Trojans. But how? Perhaps Pandarus can gain royal protection by persuading his niece Cressida to accept the love of the Trojan prince Troilus. But she’s reluctant.

The war waits for no one. Its bloody claws close tight around both Troilus and Cressida, forcing each of them to face choices neither would have imagined before the Trojan War began. Troilus’s understanding of existence cracks open, while Cressida must choose whose bed she’ll share.

Drawn from the myths and legends of centuries, Betrayal continues the tapestry of drama and action known as the Trojan War. Eric Shanower’s historically accurate illustrations and taut storytelling propel this greatest of ancient epics into the twenty-first century.

Note: I am reviewing this book because the artist sent me a free copy.

Review: I really enjoyed Sacrifice and Betrayal, Part One, two of the previous volumes in the Age of Bronze series, so I was looking forward to reading Betrayal, Part Two. Unfortunately, I don’t think it lives up to the level of its predecessors.

The most prominent storyline in this volume is that of Troilus and Cressida. A lot of space is devoted to it and it progresses much farther than I would have expected. I feel a little odd criticizing this without having any idea how the story is going to unfold in later volumes, but I would have preferred to spend less time with them. This is the book where the Trojan War really starts, but so little time is spent on the war that it loses a lot of its impact. I might not have minded this so much except that the time that might have been spent on the war is instead spent on two characters I don’t really care about. Troilus has very little personality besides his constant pining and Cressida, although the more interesting of the two, has a literal change of heart that completely changes her motivations within the space of a few pages. This made it difficult for me to empathize with either of them. I will admit, though, that I was really glad that Cressida’s motivations were made clear and I was glad that she has an actual reaction to the Greek kings when she arrives in the camp; Shakespeare leaves both of those areas pretty vague, and with appropriate embarrassment I must admit that, apart from Age of Bronze, Shakespeare’s is the only version of the Troilus and Cressida story that I’ve read so far.

I have one more criticism of the Troilus and Cressida storyline that might not be valid, but that bothered me enough that I have to mention it. The back flap of this book tells us that Age of Bronze is Shanower’s attempt to tell the story of the Trojan War “in authentic historical detail.” Yet there’s a scene that’s a recreation of the part in Shakespeare where Troilus, Cressida and Pandarus talk about how future generations will remember their names. Of course, telling the story of the Trojan War as it authentically, historically happened is basically impossible, and perhaps the “authentic historical detail” is only meant to refer to the visuals. But it seems odd to me to make a claim like that and then lift a scene from a relatively recent playwright who is not exactly known for his historical accuracy. I would be ready to just shrug this off except that the scene ends with Pandarus’s line: “All those who selflessly exhaust themselves by going between should be called Pandars.” As far as I can tell, this is a wink-wink-nudge-nudge sort of line that only works if your audience is made up of speakers of modern English, and so perhaps not something that a historical Pandarus might have actually said. This is absolutely a nitpick but, to be fair, I did predict that as I continued to review Age of Bronze I would start nitpicking …

Now for what I liked!

I really have to praise the character designs in Age of Bronze. There’s a ton of characters but somehow they manage to be pretty distinct. I read this volume a couple months after I read the previous volume, but even so, the number of characters I recognized right away far outnumbered those I didn’t. I also continue to be impressed with the transitions between scenes; my favourite in this volume smoothly takes us from nighttime in Troy to morning in the Greek camp. It’s followed by several pages where the panels on the left are scenes on the battlefield and the panels on the right are other scenes. I really love how this alternating pattern not only shows the passing of time but also moves the various storylines forward really efficiently.

Unrelated to the story, this cover is my favourite of the volumes so far, and I also really like how two pages at the back of the book are dedicated to encouraging readers to help preserve the archaeological sites.

Even though I didn’t love Betrayal, Part Two, I didn’t dislike it, and I have no reason to doubt that future volumes will return to the high standard set by Sacrifice and Betrayal, Part One. If you’re interested in reading a graphic novel retelling of the Trojan War (and don’t mind a bit of a wait till future issues), I definitely recommend Age of Bronze.

Official Web Site: Age of Bronze
Buy it at: Amazon.com, Amazon.ca

June 8, 2014

Josephine Angelini: “Goddess”

Goddess  Goddess

YA Novel
Pages: 421
First Published: 2013

Synopsis: Can you change your fate?

The gods’ thirst for war already has a body count – and Helen is plagued with visions of destruction. She must find a way to imprison them once again, or risk unleashing immeasurable chaos.

Her powers are increasing – and so is the distance between Helen and her mortal friends. Uncertain whether to fear or revere her, the once-solid group divides.

To make matters worse, the Oracle reveals that a dangerous Tyrant is lurking among them … and all fingers point to Orion. Still unsure whether she loves him or Lucas, Helen is forced to make a terrifying decision, for an all-out war is coming to her shores.

Starcrossed and Dreamless are international bestsellers. Now Josephine Angelini delivers a thrilling conclusion to this epic trilogy of love, hate, revenge, and fate. With worlds built just as quickly as they crumble, a goddess must rise above it all in a final battle to change a destiny written in the stars.

Spoiler-Free Review: Goddess is the third novel in the Starcrossed trilogy, which I’ve been reviewing here because it kind of sort of uses the story of the Trojan War as a base from which to launch its own story. When I read Starcrossed, the first book, I was baffled by its popularity but kind of amused by all its blatant similarities to Stephenie Meyer’s Twilight series. I thought the second book, Dreamless, was more original and more interesting, but I was frustrated by Lucas’s violent treatment of Helen as well as by the fact that most of the story only happens because of a lie that the readers know is a lie. Reading Goddess, I think I passed through bafflement and frustration and reached a point where this series genuinely makes me angry. Because … it’s terrible.

As usual, I must confess that there were a few things I liked, and here they are: Matt’s first few scenes. Morpehus’s two appearances. Some of the more fantastical settings that ensure that, if the rumoured movies do get made, they should at least be nice to look at. And … that’s about it.

This book reads like a hastily written first draft. Every action and every line of dialogue is overexplained; like both books before it, cutting out all the unnecessary exposition would make the book at least a hundred pages shorter. Plot threads are left half-finished. The main characters are unlikeable. There are too many characters who contribute nothing to the plot. Important scenes focus on characters the readers barely know and don’t care about. None of the main characters ever face any real risk or consequence. The original mythology is simultaneously vague and overcomplicated. The Greek mythology is changed so much that I’m not sure why it was used. The tone and register are all over the place. Characters frequently do things they were adamantly opposed to doing no more than a chapter before, with no reason given as to why they changed their mind. Characters develop powers out of the blue and then never use them. The narration awkwardly jumps from the mind of one character to the mind of another for no good reason. And – my least favourite point of all – an abusive relationship is portrayed as the truest of true loves.

There are some good ideas buried below all the first draftiness of this book, and a ruthless edit and rewrite could have improved it immensely. I have no idea why this series didn’t receive that treatment – surely this book had an editor, right? what did she even do? fix typos?? – but the fact seems to be that it didn’t. As it is, then, I don’t recommend Goddess or either of its predecessors at all.

SPOILERIFFIC!! Review: Let’s explore some of my above criticisms through examples from the text.

read more »

April 29, 2014

Mike Jonathan: “Road to the Globe: ‘Troilus & Cressida'”

The Hunt for Troy

Documentary
First Released: 2012
Run Time: 52 minutes

Synopsis: The Road to the Globe is an “all access” documentary which charts the historic performance of Shakespeare’s “Troilus & Cressida” in Te Reo Māori by Rawiri Paratene’s theatre company at the Globe in 2012.

In 2010, with the coming of the 2012 Olympic Games, the home of Shakespeare – The Globe issued a proclamation outlining the world’s biggest Shakespearean festival: 37 countries, 37 Shakespearean plays, 37 languages.

Rawiri Paratene answered the call and was duly given Shakespeare’s little known “Troilus & Cressida.” To raise the stakes, Rawiri and his theatre company were also charged with opening the festival.

The Road to the Globe follows Rawiri and theatre director Rachel House throughout the rehearsal period, where we meet key cast members and watch them confront their fears, struggle with lines and moves and ultimately lift each other up to face their opening curtain.

Review: This is a short documentary whose quick pace makes it feel even shorter, but, as predicted, I thoroughly enjoyed watching it. The Trojan War, Shakespeare, behind-the-scenes footage, and discussions of language and culture – this is a whole bunch of things I love all in one movie, and it pains me that I don’t actually have a lot to say about it.

· As someone who knows essentially nothing about Māori culture, I would have loved more information about the costumes, the dances, and the make-up used in the play. I also would have appreciated subtitles for the interviewees who code-switched (for example, by starting a sentence in English and finishing it in Māori). At the same time, however, I accept that monolingual white Canadians are probably not this movie’s target audience, and the filmmakers’ decision to not include subtitles or cultural explanations is a fair one.

· I loved Paratene’s story about celebrating Shakespeare’s birthday every year.

· From what I’ve been able to see of this production of “Troilus and Cressida,” both in this movie and in the videos linked below, it looks like it was AMAZING. Creative staging, the addition of nonverbal humour, actors who fit their roles perfectly, and a firm setting in Māori culture. I also love how the female characters seem to have been given more to do than usual – I am completely in favour of bringing Andromache onstage for more than her ONE scene!

While I would have loved it if this documentary were longer, even at less than an hour it’s a really valuable look at what must have been a fantastic production, and it does a good job of showing the myriad emotions experienced by those involved. If you think you’d find it interesting, I highly recommend checking it out.

Watch: the trailer, a clip from the movie, a news clip, the first three minutes of the play, a thirty-minute video about adapting the play: part one and part two

Buy it at: Amazon.com, Amazon.ca

April 28, 2014

Eric Shanower: “Age of Bronze: Betrayal, Part One”

Age of Bronze: Betrayal, Part One

Graphic Novel
Pages: 175
First Published: 2008

Synopsis: Winner of two Eisner Awards (Best Writer/Artist 2001 and 2003) and the Gran Guinigi (Best Serial Comic 2006), Eric Shanower presents part one of Betrayal, the third of seven volumes telling the complete story of the Trojan War.

High King Agamemnon is bent on conquering Troy and recovering his brother’s beautiful wife, Helen. But first, Agamemnon’s army must pass the island of Tenedos. Spears fly and men die. When the dust settles, the young warrior Achilles finds himself another step closer to his tragic fate.

During the feast of victory, a snake bites Philoktetes on the foot. His cries of pain are so loud and long that the army can’t stand having him around. Leave it to Odysseus to find a solution to the problem, a solution that satisfies the army but doesn’t sit quite so well with Philoktetes.

Meanwhile, the Trojans muster their strength. Happy events such as Hektor’s marriage to Andromache merely mask the fear growing behind Troy’s walls. Can a peace embassy from Agamemnon’s army hold out any hope? Even Helen dreads to face what lies ahead.

Drawn from the myths and legends of centuries, Betrayal continues the tapestry of drama and action known as the Trojan War. Eric Shanower’s historically accurate illustrations and taut storytelling propel this greatest of ancient epics into the twenty-first century.

Note: I am reviewing this book, Volume 3A in the series, because the artist sent me a free copy of Volume 3B. You may or may not be interested to know that, while my local library decided to shelve the previous volume in the children’s section, this one they shelved in the teen section. I think that’s a much better fit for the series as a whole but I have no idea why the difference. Because this volume has swearing in it … ???

Review: Age of Bronze in its entirety is projected to be seven volumes long, which makes me worry that I am going to run out of things to say about it. I have a terrible vision of my review of Volume 7 being nothing but critiques of how a character’s eyebrows are drawn. My general comments about this volume are basically the same as my comments about Sacrifice – I am still impressed by the research and intrigued by the depictions of the characters, and although neither the writing nor the art are that appealing to me on their own, combined they somehow created a book that I couldn’t put down.

· American comic books don’t have the best reputation when it comes to their portrayals of female characters and I admit that I was nervous about that when I began reading this series. I am happy to say that I have been pleasantly surprised. A decent number of female characters – including Thetis, Cressida, Andromache, and Hecuba – look like they’ll be getting larger roles than usual, and characters like Helen and Cassandra who usually get a decent amount of screen time look like they’ll be keeping it. (I’m curious to see how Thetis being in the Greek camp the whole time plays out.) This volume also passes the Bechdel Test pretty cleanly, and features at least as much male nudity as female nudity, sorry if that’s an odd thing to point out!

· Some of the more comic moments are awesome – for instance, I cracked up when Agamemnon got irritated at Palamedes for closing the door properly – but some feel out of place. Possible spoiler!! There’s a moment where Achilles steals a rock from a woman he’s chasing and it reads a bit like slapstick, but on the very next page the woman falls down a hole and dies, which is decidedly not slapstick. The different tones in this scene don’t fit well together and just felt awkward to me. Happily, I’ve only noticed this sort of thing a couple times.

· Polyxena and Troilus have a scene together and the two Ajaxes have a scene together. I mention these only because it’s neat to see characters who are usually pretty minor getting scenes to themselves.

· There are two things in this volume that I suspect might make more sense to me if I had read Volume 1. The first is the scene in which Agamemnon just plain forgets to invite Achilles to the feast that all the other Greeks are attending. He forgot Achilles? How do you forget the best warrior in your army? The second is that I can see Shanower trying to give Helen some angst about the war, but it doesn’t feel very organic to the character. Maybe there’s some information in earlier scenes that would fix these issues for me.

· Possible spoiler!!? So Akamas finds himself in a strange room in the depths of enemy territory with a woman who won’t answer his questions. He responds to this situation by having sex with her and then falling asleep. Dude, I do not think this is the best strategy if you want to make it to the end of this war.

· If I sound less than enthusiastic today, it’s only because I am a terrible reviewer who is writing this entry several weeks after actually reading the book. But in all honesty, I enjoyed this volume even more than the previous one. I read it in one sitting and loved its super creepy cliffhanger! Now that the war is fully about to begin, I’m really excited to read the next volume.

Official Web Site: Age of Bronze
Buy it at: Amazon.com, Amazon.ca