makasi yang udah mau visit, karena anda sudah masuk ke blog saya maka anda akan sering2 mengunjunginya lagi
*halah*
nah skrng perkenalkan saya ainu safira archuleta kim bum *apa2an tuh archuleta noh kim bum juga*
hihi. saya seorang inet fanatic, saya suka sekali facebooking, tweeting, plurking, dan blogging *dulu sih freindstering tapi uda ga jaman* wkwkwk 
saya itu suka sekali jepang korea dan tentunya negara dimana saya lahir INDONESIA !
saya juga sangat2 MENCINTAI *halah bahasa lo, fir* DAVID ARCHULETA, KIM BUM dan KIM HYUN JOONG. hihi
nah, kalo udah masuk kesini, jangan lupa isi 'chat box' nya yah ! Dan jangan lupa visit lagi hehe.
tengkyuuuu allll !!
Nege orsu obsur gorago ijen gurorsu obdago
jebal guman harago narur dalleji
jongmar ijoborigo shipho dashin borsu obdamyon
narur jabgo inun noui modungor
nega ugo shiphurte mada non narur uroborige mandunika
onugod hanado naui tudero non har su obge mandunungor
niga urgo shiphur te mada nan irohge munojyo borigo manika
amuri ijuryogo erursodo ijur su obge hanika
Jongmar ijoborigo shipho dashin borsu obdamyon
narur jabgo inun noui modungor
nega ugo shiphurte mada non narur uroborige mandunika
onugod hanado naui tudero non har su obge mandunungor
niga bogo shiphur te mada nan irohge munojyo borigo manika
amuri ijuryogo erursodo ijur su obge hanika
Dan hansaramur saranghanunge ithorog himdun irinjur nan jongmar mollasso
Nega ugo shiphurte mada non narur uroborige mandunika
onugod hanado naui tudero non har su obge mandunungor
niga bogo shiphur te mada nan irohge munojyo borigo manika
amuri ijuryogo erursodo ijur su obge hanika
Sabtu, 24 Oktober 2009
its an awesome ! lets check !
Sabtu, 03 Oktober 2009
Synopsis :
With the help of magical abilities granted by her "Guardian Characters," sixth-grader Amu Hinamori has successfully fended off another evil scheme of the Easter Corporation. But no magic in the world can help Amu when she suddenly discovers the mysterious, mischievous Ikuto Tsukiyomi sleeping in her bed! Ikuto is on the run from Easter, and while hiding out in a little girl's bedroom isn't the smartest idea, he doesn't have a lot of options right now. Amu wants to believe that Ikuto's intentions are good, but her schoolmate Tadase isn't so trusting. Why are Tadase and Ikuto so at odds with each other, and which boy will win Amu's heart? Meanwhile, the return of a familiar (but slightly different) face at school shakes up the student roster. It seems that even the new guy has some secrets of his own...
Review:
Like all great forms of youth entertainment, Shugo Chara! succeeds because it works on two levels. The first, of course, is the character-transforming, magical-egg-capturing, magical-beam-shooting fantasy level where kids can hope and dream that they, too, have that power hidden within them. And the second level ... is where obsessive, over-analytical fans who are probably too old for this stuff can pick apart all the weird, subversive content that Peach-Pit has woven into the story. Oh, did you think this was just some cutesy monster-of-the-week affair where love and magic save the day? That may have been true about six volumes ago—but this series clearly has all sorts of other twisted plans.
First off, there's the cross-dresser. What was originally a gender-bending side-story development in an earlier chapter suddenly comes in handy, as "newcomer" Nagihiko now becomes available to take a role that was recently vacated. But what is so interesting is that Peach-Pit does not use this subplot to hammer home a message about gender identity issues—instead, they just leave it out there and let the overanalysts judge it as they will. As for the plot mechanics, it does get tiresome having to do the same old nice-to-meet-you routines with all the cast members, but the truth about Nagihiko (which is known only to some) makes for some good comedy moments.
The real controversy, though—and the main thrust of this story arc—is when Ikuto starts sleeping at Amu's place, which is instant fandom fodder for all sorts of debate about age-appropriate relationships. Once again, Peach-Pit leaves it there for the audience to make of it what they will—a passing pubescent infatuation, or a dangerous go-ahead sign for impressionable young girls to lust after older men? Whatever the case may be, it does the job of moving the story in a suspenseful new direction, culminating in the inevitable moment when Amu gets caught. More than just a chronicle of the good guys trying to escape the bad guys, this chain of events has subtext written all over it, just waiting to be discovered.
Then there's the developing puppy-love between Amu and Tadase, probably the most "normal" of all the current storylines so far. This one is pure classic shoujo sweetness, and even that manages to get subverted when Ikuto enters the picture—the love triangle had already been hinted at before, but this is where it comes to a head. Thus, without even a single character transformation, without a single egg-capturing, magic-spewing battle (except for a tussle that happens behind the scenes), the entire series still manages to pull off all sorts of wild twists and turns. However, there's still no strong sense of direction: we have Nagihiko going one way, Ikuto going the other, and Tadase off in his own little corner. Perhaps a little prod from Easter will get things moving?
Regardless of the story content, the delicate artwork continues to shine on both the grand and small scales—from big sweeping declarations of love taking up a double-page spread, to humorous little asides from the Guardian Characters (who, due to lack of battle action, have been relegated to comic relief in this volume). The backgrounds, almost dreamlike in style, are matched only by the precision of the character designs, where fashionable outerwear seems to have sprouted naturally out of these kids' wardrobes. In fact, this entire volume takes place in winter, leading to a panoply of unbearably cute scarves and coats. The emphasis on dialogue and plot development does take away some of the visual sizzle, however—aside from Ikuto or Tadase making kissy faces at Amu, everything else is mostly people standing around talking—and the artistic compulsion to fill every blank spot with screentones does result in cluttered layouts at times.
Dialogue continues to be a weak point for the series, and while it's not as horrifying as the translation debacle of Volume 6, the kindest thing that can be said about this script is that it at least makes sense. The target age range really shows itself in the simple writing (after all, this runs in a manga magazine for elementary-schoolers), where even Tadase's dramatic love confession is something of a verbal clunker. Sound effects, on the other hand, are much easier to get right—the Japanese text is left alone, with small translations placed alongside them. A short glossary also explains some cultural points, although the story is easily understood without having to refer back to it.
In the end, Volume 7 will go down in Shugo Chara! lore as "the one where Ikuto camped out at Amu's house." And it will be remembered, not so much for sparkly transformations and fight scenes (the bombast of Volume 6 was quite enough for a while), but for its continued flouting of the expectations of the magical girl genre—as well as the expectations of polite society. Hey, why not stick a high school boy in an elementary schoolgirl's room?! Why not bring back a character whose biological wiring is different from what it originally seemed? And yet, in the middle of all that, there's still room for nice normal things like confessions of first love and contentious romantic triangles. Shugo Chara! works on different levels, and for those who can enjoy both the kiddie side and the edgy grown-up side, that just makes it twice the fun.
Like all great forms of youth entertainment, Shugo Chara! succeeds because it works on two levels. The first, of course, is the character-transforming, magical-egg-capturing, magical-beam-shooting fantasy level where kids can hope and dream that they, too, have that power hidden within them. And the second level ... is where obsessive, over-analytical fans who are probably too old for this stuff can pick apart all the weird, subversive content that Peach-Pit has woven into the story. Oh, did you think this was just some cutesy monster-of-the-week affair where love and magic save the day? That may have been true about six volumes ago—but this series clearly has all sorts of other twisted plans.
First off, there's the cross-dresser. What was originally a gender-bending side-story development in an earlier chapter suddenly comes in handy, as "newcomer" Nagihiko now becomes available to take a role that was recently vacated. But what is so interesting is that Peach-Pit does not use this subplot to hammer home a message about gender identity issues—instead, they just leave it out there and let the overanalysts judge it as they will. As for the plot mechanics, it does get tiresome having to do the same old nice-to-meet-you routines with all the cast members, but the truth about Nagihiko (which is known only to some) makes for some good comedy moments.
The real controversy, though—and the main thrust of this story arc—is when Ikuto starts sleeping at Amu's place, which is instant fandom fodder for all sorts of debate about age-appropriate relationships. Once again, Peach-Pit leaves it there for the audience to make of it what they will—a passing pubescent infatuation, or a dangerous go-ahead sign for impressionable young girls to lust after older men? Whatever the case may be, it does the job of moving the story in a suspenseful new direction, culminating in the inevitable moment when Amu gets caught. More than just a chronicle of the good guys trying to escape the bad guys, this chain of events has subtext written all over it, just waiting to be discovered.
Then there's the developing puppy-love between Amu and Tadase, probably the most "normal" of all the current storylines so far. This one is pure classic shoujo sweetness, and even that manages to get subverted when Ikuto enters the picture—the love triangle had already been hinted at before, but this is where it comes to a head. Thus, without even a single character transformation, without a single egg-capturing, magic-spewing battle (except for a tussle that happens behind the scenes), the entire series still manages to pull off all sorts of wild twists and turns. However, there's still no strong sense of direction: we have Nagihiko going one way, Ikuto going the other, and Tadase off in his own little corner. Perhaps a little prod from Easter will get things moving?
Regardless of the story content, the delicate artwork continues to shine on both the grand and small scales—from big sweeping declarations of love taking up a double-page spread, to humorous little asides from the Guardian Characters (who, due to lack of battle action, have been relegated to comic relief in this volume). The backgrounds, almost dreamlike in style, are matched only by the precision of the character designs, where fashionable outerwear seems to have sprouted naturally out of these kids' wardrobes. In fact, this entire volume takes place in winter, leading to a panoply of unbearably cute scarves and coats. The emphasis on dialogue and plot development does take away some of the visual sizzle, however—aside from Ikuto or Tadase making kissy faces at Amu, everything else is mostly people standing around talking—and the artistic compulsion to fill every blank spot with screentones does result in cluttered layouts at times.
Dialogue continues to be a weak point for the series, and while it's not as horrifying as the translation debacle of Volume 6, the kindest thing that can be said about this script is that it at least makes sense. The target age range really shows itself in the simple writing (after all, this runs in a manga magazine for elementary-schoolers), where even Tadase's dramatic love confession is something of a verbal clunker. Sound effects, on the other hand, are much easier to get right—the Japanese text is left alone, with small translations placed alongside them. A short glossary also explains some cultural points, although the story is easily understood without having to refer back to it.
In the end, Volume 7 will go down in Shugo Chara! lore as "the one where Ikuto camped out at Amu's house." And it will be remembered, not so much for sparkly transformations and fight scenes (the bombast of Volume 6 was quite enough for a while), but for its continued flouting of the expectations of the magical girl genre—as well as the expectations of polite society. Hey, why not stick a high school boy in an elementary schoolgirl's room?! Why not bring back a character whose biological wiring is different from what it originally seemed? And yet, in the middle of all that, there's still room for nice normal things like confessions of first love and contentious romantic triangles. Shugo Chara! works on different levels, and for those who can enjoy both the kiddie side and the edgy grown-up side, that just makes it twice the fun.
Grade :
Overall : B
Story : B
Art : B+
+ Controversial, subversive themes provide a strong, compelling contrast against magical-girl tropes and delicate art.
− Lack of magical combat means less excitement, while the multiple subplots seem to have no set direction.
When a royal Soul Reaper treasure known as the Ouin is stolen, Toshiro Hitsugaya, boy-wonder captain of Squad 10, disappears along with it. When another captain is wounded by an apparent attack from Hitsugaya's zanpakuto, an execution order is issued. Wounded, on the run, and tortured by the true identity of the thief—Kusaka, a friend he thought long deceased—Hitsugaya must try single-handedly to snuff the ambitions of his resurrected friend. Or must he? After all, there is a certain orange-headed Substitute Soul Reaper who has a thing for lending a hand to the underdog, and his big nose has a habit of poking itself into others' business.
Review:
They could have coined the phrase “by the numbers” for The DiamondDust Rebellion. You can almost see its creators in white lab coats inputting Tite Kubo's characters into computers and feeding dialogue through equations to insure that the end product is as colorless, mechanical and mathematically predictable as possible. By the time the movie has run its ninety minute course, you'd give your eyeteeth just to see someone, anyone, say something that you can't predict before they even open their sculpted mouths. But they never do. Ichigo shouts angrily, Kusaka cackles evilly and blathers on about getting revenge and becoming God or some such, and the supporting cast goes robotically about their individual shticks. There isn't a moment of inspiration in the entire film. Characters never break mold, the dialogue dies the moment it exits someone's mouth, and the plot goes exactly where you think it's going, even if you wish it wouldn't.
Unlike the first Bleach film, DiamondDust revolves around an established character—fan-fave Hitsugaya—and focuses heavily on the emotional side of things. It's an admirable ambition, to do a drama-based film adaptation of a long-running shonen property, but it's an ambition that requires courage and skill that its instigators obviously do not have. The fear the film has of treading on the TV series' canon toes is palpable, squelching the daring necessary to make a drama work. No film afraid to alter its characters can ever hope to even reasonably emulate true drama. And even within the insufferably safe boundaries of an extended filler episode—which, make no mistake, it is—DiamondDust does poorly. Cowardice cannot explain a film whose self-important message boils down to a “rely on your friends” platitude. Only rank ineptitude or chronic laziness can do that.
None of this would be the issue that it is if it didn't interfere so consistently with the franchise's true raison d'être. Which is to say, its action. The scene roughly halfway through where Ichigo does battle with Kusaka's Arrancar stooges pretty neatly sums the issue up. As his sword flashes and the main action theme builds to a screaming crescendo and the pulse finally begins stirring, director Noriyuki Abe idiotically cuts away to Hitsugaya doing his angst thing. That's basically the whole movie in a nutshell; all buildup and no payoff. When it should be using angst as a means of adding punch to battles, DiamondDust mistakes it for an end unto itself. Again and again the film supplants violent catharsis with leaden introspection. Until the very end there isn't a single fight whose conclusion is shown. In a genre where thrills are currency, that's a bad move; bankruptcy-bad.
When at last the action begins in earnest, the film does improve. Speechifying and beating of breasts behind it, it moves at a pace befitting an action film. If you must have your Kenpachi or Soi Fon or Byakuya or whoever fix, it's here you'll find it, as everyone's favorite Soul Reapers get in on the action. Sure, the way they're horned into to the fight just long enough to showcase their signature moves is cheesy, but watching them kick a little bad guy butt, no matter how unimaginatively, is more satisfaction than the previous three-quarters of the film offered. And regardless of whether he's morphed into a gooberish ice-monster-thingy (the abominable snow dragon?), it still feels darned good to see arrogant ass Kusaka get his just desserts.
Rather than a theatrical-budgeted visual revolution, Abe's big-screen take on Bleach is a highly polished version of his small-screen take on it. Even with a noticeable increase in mobility and detail, his film relies as much on editing and Shiro Sagisu's sawing guitars and industrial noise (and newly symphonic touches) to move the action along as it does on sheer budgetary power. Characters are more expressive, the settings (an appropriately dreary winter this time as opposed to the flame-leafed autumn of the first film) more fully realized, and the action far flashier, but that sense of punky underdoggedness that his budget-saving inventions give off remains the same. It's only too bad that the bloated pacing, plot and dialogue don't share it. But tiresome speeches and unaffecting affect don't change the fact that the climactic battle—a mad dash through a fractured Seireitei and a fractally expanding tree of organic ice—is a thing of true beauty, or that the fights, incomplete though they are, are expertly choreographed and scored and electrically edited.
The cast of Viz's dub has been on the job so long that they could do this blindfolded with their hands tied behind their backs while being dumped in a river wrapped in fifty pounds of chains. Take away the chains and the river, and they can even muster up some conviction. The dub's re-writes, which to be fair aren't always necessary, subtly improve on the original by livening up the language a bit, and the actors slip into their characters like well-used gloves. Excellent work all around for an excellent dub. And if the tragic flashbacks sound unconvincing, that's only because they are. Not even the original cast could turn drivel like “let's be friends forever” into anything but drivel. You'd need alchemists for that, and they're too busy with that whole lead to gold thing.
Though the separation of them onto a second disc is of questionable necessity, there's a lot of supplemental material to be had here. The meat of the disc is a forty-minute series of interviews. Covering a wide variety of staff and tasks, it's most useful to the fan with a technical bent, covering as it does the details of script-writing, character creation, background art (which is fabulous by the way), and special effects (mainly smoke and frost effects), as well as score composition and recording (and the effect that international Bleach fandom has on it) and Sambomaster's love of Shonen Jump. There's also an extensive line-art collection and a promo reel that includes Kon's only on-disc appearance—promoting ticket sales while getting stomped on by a variety of sadists, of course.
Far from elevating it above the featherweight enjoyment of the first Bleach film, DiamondDust's seriousness drags it down, shortchanging its all-important action in favor of rote drama and making for a singularly unsatisfying watch. Spit and polish notwithstanding, you're better off sticking to the television series.
Review:
They could have coined the phrase “by the numbers” for The DiamondDust Rebellion. You can almost see its creators in white lab coats inputting Tite Kubo's characters into computers and feeding dialogue through equations to insure that the end product is as colorless, mechanical and mathematically predictable as possible. By the time the movie has run its ninety minute course, you'd give your eyeteeth just to see someone, anyone, say something that you can't predict before they even open their sculpted mouths. But they never do. Ichigo shouts angrily, Kusaka cackles evilly and blathers on about getting revenge and becoming God or some such, and the supporting cast goes robotically about their individual shticks. There isn't a moment of inspiration in the entire film. Characters never break mold, the dialogue dies the moment it exits someone's mouth, and the plot goes exactly where you think it's going, even if you wish it wouldn't.
Unlike the first Bleach film, DiamondDust revolves around an established character—fan-fave Hitsugaya—and focuses heavily on the emotional side of things. It's an admirable ambition, to do a drama-based film adaptation of a long-running shonen property, but it's an ambition that requires courage and skill that its instigators obviously do not have. The fear the film has of treading on the TV series' canon toes is palpable, squelching the daring necessary to make a drama work. No film afraid to alter its characters can ever hope to even reasonably emulate true drama. And even within the insufferably safe boundaries of an extended filler episode—which, make no mistake, it is—DiamondDust does poorly. Cowardice cannot explain a film whose self-important message boils down to a “rely on your friends” platitude. Only rank ineptitude or chronic laziness can do that.
None of this would be the issue that it is if it didn't interfere so consistently with the franchise's true raison d'être. Which is to say, its action. The scene roughly halfway through where Ichigo does battle with Kusaka's Arrancar stooges pretty neatly sums the issue up. As his sword flashes and the main action theme builds to a screaming crescendo and the pulse finally begins stirring, director Noriyuki Abe idiotically cuts away to Hitsugaya doing his angst thing. That's basically the whole movie in a nutshell; all buildup and no payoff. When it should be using angst as a means of adding punch to battles, DiamondDust mistakes it for an end unto itself. Again and again the film supplants violent catharsis with leaden introspection. Until the very end there isn't a single fight whose conclusion is shown. In a genre where thrills are currency, that's a bad move; bankruptcy-bad.
When at last the action begins in earnest, the film does improve. Speechifying and beating of breasts behind it, it moves at a pace befitting an action film. If you must have your Kenpachi or Soi Fon or Byakuya or whoever fix, it's here you'll find it, as everyone's favorite Soul Reapers get in on the action. Sure, the way they're horned into to the fight just long enough to showcase their signature moves is cheesy, but watching them kick a little bad guy butt, no matter how unimaginatively, is more satisfaction than the previous three-quarters of the film offered. And regardless of whether he's morphed into a gooberish ice-monster-thingy (the abominable snow dragon?), it still feels darned good to see arrogant ass Kusaka get his just desserts.
Rather than a theatrical-budgeted visual revolution, Abe's big-screen take on Bleach is a highly polished version of his small-screen take on it. Even with a noticeable increase in mobility and detail, his film relies as much on editing and Shiro Sagisu's sawing guitars and industrial noise (and newly symphonic touches) to move the action along as it does on sheer budgetary power. Characters are more expressive, the settings (an appropriately dreary winter this time as opposed to the flame-leafed autumn of the first film) more fully realized, and the action far flashier, but that sense of punky underdoggedness that his budget-saving inventions give off remains the same. It's only too bad that the bloated pacing, plot and dialogue don't share it. But tiresome speeches and unaffecting affect don't change the fact that the climactic battle—a mad dash through a fractured Seireitei and a fractally expanding tree of organic ice—is a thing of true beauty, or that the fights, incomplete though they are, are expertly choreographed and scored and electrically edited.
The cast of Viz's dub has been on the job so long that they could do this blindfolded with their hands tied behind their backs while being dumped in a river wrapped in fifty pounds of chains. Take away the chains and the river, and they can even muster up some conviction. The dub's re-writes, which to be fair aren't always necessary, subtly improve on the original by livening up the language a bit, and the actors slip into their characters like well-used gloves. Excellent work all around for an excellent dub. And if the tragic flashbacks sound unconvincing, that's only because they are. Not even the original cast could turn drivel like “let's be friends forever” into anything but drivel. You'd need alchemists for that, and they're too busy with that whole lead to gold thing.
Though the separation of them onto a second disc is of questionable necessity, there's a lot of supplemental material to be had here. The meat of the disc is a forty-minute series of interviews. Covering a wide variety of staff and tasks, it's most useful to the fan with a technical bent, covering as it does the details of script-writing, character creation, background art (which is fabulous by the way), and special effects (mainly smoke and frost effects), as well as score composition and recording (and the effect that international Bleach fandom has on it) and Sambomaster's love of Shonen Jump. There's also an extensive line-art collection and a promo reel that includes Kon's only on-disc appearance—promoting ticket sales while getting stomped on by a variety of sadists, of course.
Far from elevating it above the featherweight enjoyment of the first Bleach film, DiamondDust's seriousness drags it down, shortchanging its all-important action in favor of rote drama and making for a singularly unsatisfying watch. Spit and polish notwithstanding, you're better off sticking to the television series.
oke, its enough. thanks for reading
nah ini dia beberapa foto kim hyun joong pasca sembuh dari penyakitnya, H1N1, di sini dia sedang foto untuk produk MACOS ADAMAX. oke ini diaa ~~
tralala~~ trilili ~~ suadh berapa tahun saya ga ngeblog ? haha~~
ooke deh saya akan mulai aktif ngeblog lagi :D <-- soalnya udah ada warning 90 hari lagi inactive nih blog. hihi
huhaaaa apa ya yang akan saya bahas kali ini ? bingung bingung =="
ohya ini bbrpa foto kim bum di dream film dia yang baruu !!
udah segitu aja dulu :D hehe~
Kamis, 20 Agustus 2009
hello blog ? long time no see.
now i'm very busy in my new school, 14 senior high school, so i can't post blog regulary -___- i'm so soory, ok ?
now i'm very busy in my new school, 14 senior high school, so i can't post blog regulary -___- i'm so soory, ok ?
Now I want tell my exciting saturday. yei !
start from in the morning, saturday at 8 august 2009, we went to veldrum together, me and my classmate.
we went there with public transport. we had two public transport because one public transport is not enough to carry us ^_^
and we arrived and we started to got run score there. Me and my classmate took a lot of photos there. that was so funny ! it is some photos from a lot of it :
how that picture ? so cool rigth ? hehe.
sometimes, I can't believe, because we, me and my classmate not full one month we know each other, but look, now we know each other more than that I think. I still can't believe it, I wish it will be forever, although we won't in X F again :). ok, back to topic
we run 8 to 8 until finish. then, we planned to have lunch together at Arion, but some of us went home and had meet with their extraculicular. finally, just me, adi, kevin, lisa, arden, dea, selfa, mirza, fadel, and other friends ( i'm sorry if not all of friends I didn't write here because I can't remember all. hehe )
and there, at Arion, we had lunch at KFC ( if I don't false, because I'm forget. hehe ). we also took some picture there, but so sad, i don't have the picture :( the picture are in lisa's handphone. I haven't send it to my handphone :( but it's ok, no problem.
after that, each other, went to another place. me, selfa and lisa went to selfa's house because we had to do our english homework group. and there, we worked it together. I didn't make it until finished because I must go home and then went to my english course, LIA at 2 o'clock in the aftrernoon. But lisa and selfa finished do that homework at 7 night. after I finished my course, I went home and slept. it so tired saturday because so many activities that I did this saturday. -____-
IT EXCITING ALSO TIRED SATURDAY. I WILL REMEMBER THIS SATURDAY ! hehe :)after that, each other, went to another place. me, selfa and lisa went to selfa's house because we had to do our english homework group. and there, we worked it together. I didn't make it until finished because I must go home and then went to my english course, LIA at 2 o'clock in the aftrernoon. But lisa and selfa finished do that homework at 7 night. after I finished my course, I went home and slept. it so tired saturday because so many activities that I did this saturday. -____-
ok, it's all. thanks you ! I'm so sorry because so many wrong grammar in my this post :) marhaban ya ramadhan !
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