I really enjoyed the new animated feature from DC, Superman vs. The Elite. I agree with Chris Sims of the Comics Alliance site that it is better than the [comic book] source material. This movie was a lot of fun and I liked the art style more than many reported to from early viewings. The Fortress of Solitude, Superman Robots and the pre-Ad Nauseum Crisis relationship between Clark Kent/Superman and Reporter Lois Lane made me miss the old DC Universe so darn much.
Actress Pauley Perrette as a new voice for Lois Lane was the thing that stood out most for me. Voice actors can really make or break a show. I still wince when I hear the boyish pitch of Tony Stark in Avengers: Earth’s Mightiest Heroes. Perrette has a great-sounding voice and delivery cadence that suited the character without sounding too similar to the manic, hyper-caffeinated Abby of NCIS. The Lois personality really comes through with Perrette ably voicing the character. In fact, Perrette was considered so effective as Lois that that as a mark of respect the animators created their own “cross-over event” by copying Perrette’s real spider web neck tattoo onto Lois, thereby making it a part of the DC Universe continuity. That’s just great.
It’s clever using the telepathic link so much in the Young Justice – Invasion animated television series. The link, which I first recall seeing used a lot in the X-Men comic book years back, is a science fiction device that allows covert communication between team members and information dumps. It is used to great effect in the YJ show, more so than in any other media I’ve seen. In X-Men and any number of other similar print and video series once the link was comprehensively Claremonted onto the continuity and back story it was just a given that the characters were using the telepathic link. In Young Justice the mental interaction between the characters is integral to the pacing of the show. One of the aspects that is clear about the teen team is that they don’t want to share very much with the adult members of the Justice League. This is very much in keeping with the premise of the show of the junior league chafing at the leadership and their perception that they are together only at the sufferance of the elder heroes.
The big deal about the link in Young Justice is not in driving the story but that the animators and presumably the budget really gets some breaks when the characters are able to just stare at each other without moving during expository voice-overs. Did the creative team understand at the start how much time and money would be saved per episode from not animating the characters speaking, including all the realistic body gestures that would have to accompany such scenes? I wonder if cost considerations come into play and the use of the mental link to cover the majority of the animated speaking was the solution or was that just a beneficial circumstance of a plot device.
Edited from original post June 6, 2012 at the LTMS Tumblr.
Even without counting Metallo, who is technically nude (Hey, sexy robot women count, why not men?), Bane and the Evil Martian are showing about the same amount of skin. But let’s face it, there are some basic differences in the way these costumes are presented. The togs of Star Sapphire and the Cheetah are designed to be sexy and titillating as a typical male fantasy fulfillment. The clothing of the men are not to excite but meant to display power and prowess albeit of the “Jersey Shore ab-display” variety.
On the plus side Star Sapphire is depicted as having more fabric in her outfit than the comic book version but that probably has more to do with the standards and practices of a video meant for a somewhat younger audience.
Image from Justice League: Doom (2012)
Nearly 50 years after it was first unleashed upon the world the love song Eep Opp Ork Ah-Ah as performed by the multi-talented Howard Morris for The Jetsons animated television show is a cultural and Valentine’s Day classic. Originally broadcast in 1962 in the episode “A Date With Jet Screamer” Eep Opp Ork Ah-Ah has outlasted many of the “serious” pop songs of the day and has been sampled and covered by such bands as the Dickies and most famously, the Violent Femmes. Plus: Starkids reference.
More on Howard Morris: Wikipedia, YouTube and as Professor Lilloman!
The character of “Racist” Bannon in the 1964 animated Johnny Quest adventure series was quickly re-imagined when he didn’t scale well with focus groups.
See the original Johnny Quest title sequence here and the fantastic stop-motion homage here.
If you have not watched any episodes of the new animated Looney Tunes show then you are missing scenes like this.
-Elmer Fudd Grilled Cheese Sandwich song-
Another example of a cartoon not really made for the kiddies.
A lazy, slightly creeped-out Sunday post.
Archer is currently one of my favorite animated shows. The adventures of Sterling Archer and the dysfunctional spy agency ISIS and the cast of characters is wrong on many levels. The show is obscene, rude and pushes boundaries. The delivery of H. Jon Benjamin, who voices Sterling, is comedic and note perfect. The recent two part episode where Sterling battles breast cancer and goes on a deadly rampage when he discovers his costly, life-saving medication was replaced by sugar and Zima was the funniest television I’ve seen in ages.
While the animation is what brings people to the show it is the characters that make them stay. The entire cast is great and they play horrible, flawed people with few redeeming qualities seemingly effortlessly.
The title sequence is awesome and retro, capturing the pastiche of the 1960s-1970s era of spy thrillers perfectly. You can view the lead in to Archer at the website The Art of the Title Sequence which breaks the creation of the opening credits down a bit.
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A lazy Sunday post.