Gankutsuou opens with a captivating depiction of an out-of-this-world carnival. While such stunning visuals make this title a dazzling display of artistic imagery, once the viewer loses interest in this distraction, much of what remains in the first half is a mediocre story populated with frustrating characters. Despite being based on Alexandre Dumas’ classic novel, Le Comte de Monte Cristo, the series, like some of the movie adaptations of the tale, proves to be underwhelming much of the time. At the conclusion of each of its previews, the narrator implores the audience to “Bide your time, and hold out hope,” and this soon proves to be an apt request.

The desire to test one’s boundaries and escape the mundane existence of what is comfortable and familiar is common among the young. Albert de Morcerf and Franz d’Epinay are no exception, and as they revel in celebration at a festival in the faraway city of Luna, they are afforded the opportunity to be free of the formality of their privileged lives in Paris.

During their journey, the two encounter an enigmatic stranger calling himself the Count of Monte Cristo, who quickly makes their acquaintance. And when Albert’s naïve nature ends up getting him kidnapped, Franz finds himself with no one left to turn to other than the Count, who gladly plays the role of Albert’s savior, thus earning the young man’s admiration. In return, the Count asks the two to provide him an introduction to Parisian society, and is happily obliged.

In Paris, the wealth and mystery surrounding the Count proves alluring, and the nobility is soon as captivated by the man as young Albert. Unbeknownst to many of them however, this is not the first time they have met the Count, and what follows is a classic tale of revenge intertwined with touching chronicles of friendship and forgiveness.

As the hope of youth is tested, so is the resolve of the bitter. While viewers ignorant of the narrative and subplots of Dumas’ original work will likely enjoy its ingenuity, the sizable cast and limited perspective diminish the effectiveness of this recounting.

The central character Albert is often exasperating, and much of the malice of the Count comes off as flat and unconvincing. The series does eventually hit its stride, but unfortunately, it requires the loss of its most endearing character to finally engage the audience fully. This sacrifice, however, is enough to atone for previous shortcomings and resonates strongly. Viewers are left contemplating what they would do for the people they love, and later, what they could forgive.

Gankutsuou immediately mesmerizes with its visual style, before letting its audience down with lackluster plodding, only to hook them again with sentiment at the end. While it does not do justice to the literary classic it borrows from, it is nonetheless a unique show worth looking into.