身为三大OTAKU作品之一, 的确是继承了日本象征主义心理影视动漫的传统.

蓦然领会这点之后, 突然一阵怅然, 推崇了很久的一些作品比如<Love Complex>,

野岛伸司, 今敏等人的东西, 如果追根溯源也都是有迹可循, 并非彻底的特立独行.

不过, 有趣就好.

这类日剧/动漫的组织方法通常开始于基本的人物系统,

1. 每个人物都被设定为近似一维的存在, 即某种个性极为突出, 或对某件事物有超出正常水平的执着, 而角色全集就象征着人这种高维存在.
2. 角色最初存在表面的竞争合作关系, 这些关系随着剧情的发展会升级或逆转. 而他们的心理活动被全程追踪, 并慢慢揭开每个人一维性格背后的深层心理根源.
3. Freud和Jung的精神分析在这里大行其道. 故事通常会设定一个虚拟的问答环境, 一般发生在阴暗封闭的空间, 提问方要么是主人公的潜意识的脸谱化, 要么是剧中人际网幻象的轮番轰炸, 无论是哪种都代表我们冥想时的扪心自问.
4. 提问通常伴以特制的外部景物环境侧面描写来增大冲突和心理压强.
5. 压力的解决则通常是以冲突中相关人物以一种艺术加工后的暴力形式进行肉体上的正面竞争/交锋来达到高潮并最终解决, 如少女革命中的剑术决斗, Food Fight中的冠军大胃王比赛.
6. 冲突解决后的尾声则要在阳光普照的肌理中埋下"矛盾永无休止"的伏笔.

日系片似乎有着强势的心理片文化, 任何一部简单日剧里都能找到自省和精神分析的蛛丝马迹, 不管是为了省钱还是惯性使然, 这已成为日系和美系的基本分水岭.

But I still have to eat, to code, to finish dissertation …

Life is so short.

Let’s get a rewind.

A side-strike from it would be: Is the idea of "fun" underestimated in relationships? If it were not fun, would we make a commitment?

I guess it depends on whether relationship can be defined in terms of game, given the fact that a lot of people adopted "game" as

a valid metaphor of life in general.

If it is not fun, then why do we insist on finding someone and stick to the tie even when a sparkle in mind suggests otherwise?

Are we masochists?

When the feeling of mediocrity sets in, it probably means one of you is out of love.

在公司邂逅三年前一起听过课的巴西朋友, 在公司算我前辈同行. 得到不少信息, 找到不少未来适合我做的项目. 开心~

Probably the most “goodlooking” real-time audio feature extraction library out there.

But only goodlooking…

I’ve spent 3 days debugging the whole library and the documentation appeared quite misleading on top of its doxygen-ish tidiness. It turned out that there are bugs in nearly half of the library functions (ver 0.4.7). And according to my own investigation/decoding, the inspiration of the library was a paper from the CUIDADO project, in which lots of descriptions are overly concise.

Anyways, I’m going to work on it a little bit more and try to integrate a little bit of jAudio flavor into it.

gpg --export --armor <KEY> | sudo apt-key add -

以往的GL动画一直摆脱不了两道枷锁的束缚，第一道是女生爱女生是罪恶的吗？第二道是：女生和女生真能有结果吗？长久以来，GL动画或带有GL元素的动画一直在这两点上挣扎，受这两道紧箍咒的影响，我们对以下场景屡见不鲜：

• 1. 一个女孩爱上了另一个女孩，但她所爱的女孩喜欢的是一个男孩（通常是男主角），最后男孩和女孩幸福地生活在一起，暗恋的那个想明白了于是诚心诚意地祝福他们
• 2. 一部动画里有一对配角是GL，但她们是属于邪恶的一方（通常她们也是近似于路人甲一般的角色），最终被我们正义的主角给ko了
• 3. 在一部后宫动画里，男主角的后花园里有两个女人关系不明不白的，但她们后来都为博爱的男主角的魅力给折服了，于是两人都被他给通吃了
• 4. H动画里两个女人ooxx，然后她们都被某男上了……

• 首先不乏一见钟情, 而女孩间的一见钟情往往是优美自然风景中对某位气质美女的惊鸿一瞥;
• 其次就是旧伤系遇见疗伤系, 且前者一定年长而疲惫, 后者一定年少气盛的总攻.
• 再次是对对方的特殊才艺的倾慕到冲昏了头脑, 陷入爱恋.
• 最后是离别催生爱情. 离别, 包括物理和精神的离别, 前者包括毕业, 升学, 转校, 转职; 后者包括新同性的友情介入, 突然萌芽的异性追求者.

.Tags: Anime, Soul taker, Health, アニメ

The only Mandarin male singer I'm still interested in.

This album is as usual of high composition and production quality;

His best effort to date.

It's always difficult for Mandarin artists to combine intellectual values with entertainment ones: We have the most conservative/static/obedient yet most nit-picky audience in the world.  Seeing this, one may anxiously mention Jay Chow, who has received continuous positive market response to most of his output and has made a considerable amount of experiment in the context of his own skills. He, however, aims mainly at adolescents, and seems to lack the general concerns with social problems other than domestic violence from his own experience; more importantly, he is rarely responsible for the lyrics; even more crucial, though you can't say Chow's composition/arrangement has stopped evolving from the Hip-hop cliche, all his style offshoots (country, rock, etc.) appear consistently bombastic, restless, .... hence mediocre. Behind all these is the absence of a quiet meditation about the fundamental problems. Jay takes only local observations and provides with no solutions, as most artists; yet the angle he took is purely from a kid (with a little bit clue). Enough having been said, Chow is no doubt a rare talent and an indispensable figure in Mandarin pop scene; however, no evidence shows that he's grabbed a firm share of the (young) adult market.

On the other hand, Stanley Huang, with a slightly aging resume, managed to upgrade from the L.A.Boyz to a sophisticated and versatile singer/songwriter, and enjoyed certain level of critical and commercial success. He and Chow share a similar "encrypted"(or "unconventional" to the fans, "unprofessional" to the rest) Mandarin lyrical style; however, Huang has successfully touched a handful of real-world problems, including corporation employee's hopeless life, internet piracy, domestic violence(~), and so on. Having been on the similar kid-path as Jay, his masculine figure gets emphasized with not only his gangster outfit but also his toothy mumbling vocal delivery, the dense texture and large dynamics of his music, all of which is now carefully wrapped up with a "nobody"'s perspective, e.g., in the MV of <最后只好躺下来>, the freedom in the dream of the pathetic employee was just about women (on the beach), women (at work), and women (in the bedroom), such an irony as the soundtrack goes with "give me freedom (给我 自由)" presented with Stanley's definitive serious tone. Such a "nobody" happens to be everybody. The major difference in their stances is that Stanley would go down to play the inferior, the pathetic, with the authentic tragedy and anger; whereas Jay, even when in the "busy Cowboy" costume, would stay shining in decency -- the lethal attraction to most women. Huang crawls low; Chow flies high. Somewhat like Stephen Chow versus Andy Lau. Yes, I would rather view Stanley Huang the Stephen Chow in pop music. A relaxed seriousness, a bittersweet taste of life.

In the age of self-consciousness, his ever-increasing focus onto the intrinsic cliche and chaos of contemporary urban life has earned him greater and greater attention from those who start to question themselves. Apparently, his audience won't match the mass majority. But seeing Stanley's progress in each of his albums, one might find that he's already in the groove of hitting a nerve of whatever topic that interests him with his minimal-lyrical-plus-maximal-texture approach, and still can get away with catchy tunes and creative MVs that would earn him audience. I love the simplistic and rhythmic development in Stanley's songs. The new single <最后只好躺下来> and the earlier <大人们> are good examples of the style.

Mandarin pop started a doomed battle against the rest of the world, having to play by the rules set by the West. Despite the artistic glass ceiling, the reality is that we are still in the middle of finding a sweet spot of general commercial art even within our own little boxes, where more intelligent artists can hopefully thrive upon. I think Stanley's mini-maximal approach could be a rewarding lesson to learn.

Tags: NewRelease, 华语唱片, 华语音乐, 黄立行, 周杰伦, Stanley Huang, Jay Chow

I've talked to Viva, la Vida, Death, and the Friends, and they all agreed that this album sucks. They are sorry they ever agreed to let their names be (ab)used this way. Especially Death: he says that his reputation is bad enough as it is, but now that his infamous name has been mentioned on a Coldplay album, he basically doesn't even expect his closest relatives to phone him anymore.I've also had a quick word with the bare-chested French chick from 1790, featured on the cover. She says she too hates Coldplay. Furthermore, she insisted that had anyone had the guts to play music like this in Paris anno 1790, they would have been guillotined by an angry mob with the swiftness of an owl's fart. When asked about the album's silly title, she said that Chris Martin originally planned to name it "Big Revolutionary Tits", but when Gwyneth Paltrow got wind of the idea, she got extremely jealous (she's flat-chested, see) and forbade Chris to use it.

Tags: 声优, Seiyuu