My reaction to the second season of Netflix’s animated anthology series Love, death & robots It was a pre-emptive depletion. I enjoyed some of the first waves of the episode, especially Albert Mielgo’s “Witness” and Robert Valley’s “Jima Blue”, but tired of pitching “mature, messed up” adult animation. For the maturity-asserting series, most of the otherwise beautifully animated shorts in Season 1 used only blood, boobs, and gussets as themed throughlines, adolescent overfixation. I felt like practicing. There was nothing under their shiny surface.
Fortunately, Love, death & robots Season 2 is better than the first season, and the eight shorts are speculative in a really mature way, reducing unnecessary nudity and violence. Adapted works by JG Ballard and Harlan Ellison and added Jennifer Yuh Nelson (Kung Fu Panda 2), Series creator Tim Miller (dead PoolAs a co-executive producer and director of one of the season’s outstanding installments, “Pop Squat,” everything seems to have helped the series grow.
But there are still classification issues Love, Death & Robot An explanation that mistakenly composes media as intended for “children”, no matter how meaningful it is as an “adult” animation. So it goes without saying how to define “adult” animation. good “Adult” animation?My definition comes from a particular series: Peter Chung’s avant-garde sci-fi series Eon Flux.. A more modern incarnation of this genre ( Love, Death & Robot) We learned from precedent that creator Peter Chung and his team set it up nearly 30 years ago.
Premiered on MTV’s experimental animation variety show Liquid Television in 1991. Eon Flux While performing unspecified missions, she chases the Dominatrix assassin as she walks through the winding corridors of a vast, seemingly impregnable complex. At first glance, the first two minutes segment seems to perpetuate the same tired convention of so-called “adult” animations. Love, Death & Robot: Excessive reliance on surface-level violence and slightly covered sexual images, servicing the gaze of men.According to series composer Drew Neumann, even the roaring orchestra score of John Williams Raiders of the Lost Ark Theme … but “broken”.
Eon FluxThe second segment of is a complete inversion of the dynamics. Chung assembles the episode from the perspective of Aeon’s myriad unknown adversaries as an abominable counterpoint to the first heroic act of the action film. Steambot Willie-Hallucinations like when he succumbs to his wounds. There are countless other corpses around him, lying in a large pool of blood and piled up in dozens of corpses. As a group of administrators with mops watch over from bystanders, Aeon advances and fires off-screen with a reckless abandonment. After all, our heroine may not really be the heroine. What is Aeon aiming for here? What did these soldiers do to trigger such an attack? Who is the “good” person and who is the “bad” person in this situation?
Everything about ion flux revolves around disappointing and inspiring viewers to scrutinize beyond the surface of their first impressions.at first Spy vs. SpyAn action series like, the original 12-minute pilot and its five-episode second season, which combines points of distant inspiration such as Franco Belgian comics, cyberpunk fiction, and Gnosticism Almost none. Instead, the animator speaks to the audience through a designed environment, dynamic camera angles, and elaborate and expressive actions and gestures. “My story is ambiguous, so I don’t want to vaguely portray ambiguous events.” Chung said in an interview with the Art of the Title “I want you to describe ambiguous events as clearly as possible.”
This emphasis on subtle ambiguity and rhetorical sleight of hand remained when Chung jumped into a full-voiced character and storyline in the final season of the 30-minute episode. To maintain the spirit of the show with newly uttered and sometimes very verbose ionic incarnations Eon Flux I relied on double entenders and sometimes triple entenders. The speech was “” in the words of Jack Fletcher, the audio director of the DVD commentary track for Season 3 episode “Utopia or Deuteranopia?”.[…] It’s a type of italic, or the basic way to say what you’re saying with facial gestures. Dialogue has since become an element that complements the mysteries and charms unique to each episode. Aeon dies somewhere, effectively resetting the continuity of the universe and the character, thereby allowing the viewer to understand the universe and the audience to scrutinize the subtleties of the character’s interactions to discern the bigger ones. You will be forced to do the whole meaning from that part. Aeon’s own design itself feels like an implicit critique of the beautification of violence. The attractive yet grotesque image expresses the deadly femininity transformed by the power of the eyes of a man.
writing Eon Flux Is an act of balancing between a dazzling slowback to action and a science fiction series, deliberately to question viewers the arbitrary moral legitimacy of the violence they are witnessing. Prompt to. Nowhere is this more obvious than the short second season, briefly entitled “War,” following two opposing factions trapped in a brutal and uncompromising battle. The short begins with Aeon. Aeon is immediately killed with one of her companions. After that, Chung switched to her murderer’s point of view, and there was no conversation, such as being killed by a sword-wielding martial artist himself. “War” brings the arbitrariness of good and evil to the fore, and reveals the individuality and motivation of each hero within 5 minutes through subtle beats and animations. The driving force and goals of the battle itself are neither shown nor implied. War exists as an example of a perhaps “innocent” action spectacle that explains the human dimension and the fatal losses of those who participate in it. Eon Flux Instead of blaming the joy of seeing a large number of men shot down with mortars and machine guns, speak to the audience by making the subjectual cross-examination of that joy a central part of the experience.
Thanks to the biopunk star-crossing romance set between the endless conflict boundaries between Orwell’s technocratic state and the anarchist city-state Libertine Saboters, Chan Got freedom. Eon Flux Get involved in all genres and myths. The 30-minute episode entitled “Demiurge” asks a big, open-ended question, assuming the animator describes it as the ultimate ion flux mission in the DVD director’s commentary. In the episode, Aeon is literally on a mission to kill God. At the heart of the episode is a philosophical struggle between the two characters: Aeon himself and her nemesis lover and Bregna leader Trevor Goodchild. Her mission is probably just another battle in the ongoing feud between the two countries, but Aeon’s quest to kill the Demiurge is personal. “There may be a god with perfect moral authority, and that presence makes Aeon uncomfortable,” says Chung. “She is not ready to deal with the guilt of what she is doing in her life of violence.”
Meanwhile, Trevor’s desire to bring the Demiurge to life in the physical world is his own desire to take full control of Bregna, gain more power, and at the same time be freed from the burden of responsibility inherent in his role as a state. Motivated by selfish desires. Dictator and his conquest to gain more power. In this episode, the interpretation of whether the motives of any of the characters can be justified is left to the viewer and involves the larger existential and theological debate at the heart of the story.
The 30-minute episode “A Last Time For Everything” stands out as one of the most influential and memorable episodes in the series. The episode fully shows the complex romantic dynamics between Ion and Trevor, only after the audience knows the truth. Aeon really loves Trevor, despite himself, and Trevor’s tactics are a great opportunity to pursue life with him without compromising her individualistic urge to freedom and turmoil. Gave her. When I see Aeon facing her clone at the climax of the episode, I see the character facing the truth about herself. Branching from her. Acknowledging her love for Trevor is abandoning her side as essential and undeniable as that love, which ultimately both our audience and herself “know” her. So it would represent the “death” of Aeon.
Ambiguity Eon FluxCharacters and the universe, along with their unique art style, are essential to their lasting legacy as a touchstone for artistic adult animation. Despite its superficial appearance, it is one of the few anime shows for adults that is not a comedy, and while enjoying the superficial level of satisfaction of sex and violence, at the same time to the viewers their very Encourage them to question their satisfaction. Eon Flux Is a series that respects the viewer enough to treat it like an adult in a unique way.when Love, death, robot Learn to do the same, the series will be even better for it.