Tag Archives: Cartoons

Portrayals of Friendship in Animation

Image result for alya and marinetteStrong, genuine, and lovable characters—both protagonists and antagonists—are at the core of a solid story; however as every story is interactive in one way or another, it’s not just about how these characters stand on their own. Equally, if not more, important a cast needs to build off of one another to play into a dynamic that is appealing in some way, shape, or form.

 

As with any live-action films and television series, characters in animated works can blatantly lack chemistry with one another. Friendships can feel forced or shallow; and as such, real connections (even in fictional worlds) can be difficult to come by.

Related image

However, there are some key series that subtly preach friendship in ways that are filled with sincerity, or in extreme cases, conveyed as believably unbreakable bonds.

 

There are many different types of friendships showcased in animated works. Some great portrayals that are highlighted in this article include:

  • Enid, Rad, and K.O.’s sweet and charming connection in OK K.O.
  • Jen, Nikki, Caitlyn, Jude, Jonsey, and Wyatt’s fun and playful group dynamic in 6teen
  • Star and Marco’s dance between romantic and platonic in Star Vs. the Forces of Evil
  • And basically everyone under the X-Mansion’s roof’s family relationship in X-Men Evolution

 

Each of these series present a different variation of cartoon friendships that can easily be translated into a spark that is comparable to genuine connections in reality. The chemistry of a group of people on screen can make or break how invested viewers are in these characters, and how likely they are to be pulled into a series as a whole.

 

The Charming Connection

Image result for enid ko and rad

Enid, Rad, and K.O.’s charming connection presents an unlikely group of friends with varying personalities that fit together like a jigsaw puzzle. They learn more about one another throughout the series, and have grown incredibly fond of each other as well. They are incredibly supportive, acknowledge each other’s strengths, and fill out each other’s weaknesses. The way these personalities bounce off of one another makes the character-driven series addicting to watch, and has become one of its greatest and most defining features [also see Milo Murphy’s Law and We Bear Bears].

 

The Playful Group Dynamic

Image result for 6teen

The six protagonists of 6teen present a group dynamic that centers the series. It’s a simple episodic show which premise is about the day-to-day life of 6 teenagers who spend the vast majority of their time outside of school hanging out at a local mall. These characters fit into commonly-used tropes; hence, their personalities are not necessarily complex:

 

  • Jen, the athletic overachiever
  • Nikki, the goth who takes a sarcastic approach to life
  • Caitlyn, the spoiled and shallow girl with a secretly large heart
  • Wyatt, the reserved and struggling musician
  • Jonesy, the lady-obsessed narcissist
  • Jude, the chill skater dudeImage result for 6teen

 

Perhaps this overtly-stereotypical cast wouldn’t work in this day and age where uniqueness is the way to go (hello Adventure Time and Steven Universe), but when 6teen was at its prime in 2005, this playful dynamic was all the rage. Circling back to the topic of this article, not only is there at least one character that most people watching can resonate with, but the group as a whole bounces off one another seamlessly [also see StokedCraig of the Creek, Voltron: Legendary DefendersDanny Phantom, The Emperor’s New School].

Image result for 6teen

 

Being so different works exceptionally well; not only for the series’ creators to get all of their bases covered, but they each share a different perspective and approach to zany issues that ultimately have them working together to fill one another’s shortfalls—personality and otherwise. Despite being such a contrast in characters, they fit together like the perfect jigsaw puzzle.

 

In universe, the main dynamic showcased in 6teen can be described as exciting, playful, youthful, relatable, and comedic. But it can also be described as caring, empathetic, supportive, and lifelong. This series has taken a snapshot of what it is like to be a young person living with a core support system outside of family, and definitely deserves more credit in displaying such exciting relationships.

 

The Romantic vs. Platonic Question

Image result for star and marcoStar and Marco of Star Vs. the Forces of Evil share a special nuanced relationship. These characters have been friend only for 2 entire seasons before the question of more than friends hit smack during its mid-season-2 finale (Kim Possible anyone?). Star and Marco bounce off of each other very well; Star being the adventurous crazy type, and Marco granted the unsolicited nickname of “safe kid” throughout the series’ entire first season.

 

Image result for star and marcoWhat’s great about their on-screen dynamic is that it is one of the most believable friendships that has graced animated television in recent time. The amount Star and Marco care for one another is immense—to the point where, as they have grown so much together, it only makes sense that the idea of a blossoming romantic relationship is in the question.

 

The way these character’s relationship is built is so genuine, that the romantic angst which follows comes naturally. During the series’ most recent season, our duo’s relationship has only grown more complex as their romantic timing is completely out of sync. But despite Star being in another relationship, the protagonists are beginning to realize that they are perfect for one another.

 

Image result for battle for mewni hugBoth friendships and romantic relationships are arenas difficult to maneuver within—especially at a young age. It’s only natural that new feelings are explored and the characters grow both together and apart. To put it simply, where the latest season leaves off, Star and Marco’s relationship can be best described as increasingly awkward. But this does not even begin to change how much these characters care for one another and how much they still see each other as a huge part of their lives. They will silently fight through and mishaps and emotional struggles to stay within each others’ radar. These emotions are powerful, and conveyed as relatable and believable.

 

The Roommate-Turned-Familial Ties

Image result for x men evolutionFinally, the relationship of the X-Men: Evolution cast is wonderfully realistic. A group of people who’s deviation from the norm, or “mutant abilities” if you will, brings them together. The cast of X-Men: Evolution exemplifies this dynamic exceptionally well. These are characters who don’t necessarily have a ton in common, but stay united as they’re the only ones who understand each other on a fundamental level. This understanding is enough to forge an unbreakable bond, despite their friendship likely not thriving in any other case.

 

Image result for x men evolution

This type of relationship is more so defined by people of stark contrast coming together via obligation or necessity above all else [also see Young JusticeTeen TitansAvatar: the Last Airbender, Mysticons, & Phineas and Ferb]. Since these characters are essentially forced out of circumstance to spend many waking hours with one another, their tolerance/adaption soon transforms into deep friendships with some, and supportive acquaintances with others. Overall, this defines a familial relationship where characters learn to get along with each other to the point where they still heavily support one another when it matters despite clashes in values, characteristics, and personalities.

This type of relationship defines what it is like to be a part of a family: not necessarily seeing eye to eye, but supporting one another regardless.

 

Image result for kronk and yzmaOverall, there are many cartoons out there that present friendship as deep as an empty shell; however, there are also many great titles that actively focus on building strong relationships between its characters. The latter is made up of excellent animated works that draws viewers in because the characters are so addicting to watch—even if the series isn’t specifically character-driven.

 

What is most evident is that many of the series mentioned above have a spark that cannot be easily replicated. It takes a level of careful consideration to come up with, not only stand-out characters on their own, but those that light up a room when they’re together. Characters that play off of one another form an iconic cast that is addicting to watch on screen (Yzma and Kronk anyone?).

 


Image result for milo murphy's law friendA/N: What a great batch of surreal friendships (literally)! As someone who didn’t have many close friends growing up, I would vicariously live through these—and many more—cartoon characters. Sad, I know. But hey, if I didn’t drown my sorrows in animation as an escape from my oh-so-difficult 12-year-old reality, this blog would probably not exist. So yeah..

Marvel’s Spiderman (2017) — Does it Deserve the Hate?

Ever since acquiring Marvel Animation in 2009, Disney hasn’t exactly earned the best track record in its attempts at revamping the Spiderman animated franchise. On top of 2012’s Ultimate Spiderman receiving mixed reviews since it’s premiere, 2017’s Marvel’s Spiderman series has also garnered more than its fair share of criticism.

 

Why? Well, they both are said to take ownership of the compelling web head’s story, only to strip it’s complexity for the sake of “children’s entertainment”. Child-targeted content breeds relatively-successful merchandising efforts of course, and we all know that Disney is built on a foundation of toy sales.

 

A bit of backstory . . .

 

Before Disney took charge, 2008’s Spectacular Spiderman was praised by many for acting as a bridge between the young and older generations of Spiderman fans. Its take on both its primary and secondary characters are chock-full of complexity and growth. Its narrative also follows the base material under the same name fairly closely, while adding its own distinctive edge—a fine balance that most reboots as of late have not managed to embody.

 

Image result for ultimate spiderman

Ultimate Spiderman followed as Disney’s first attempt of taking the wheel of the Spideymobile. Fans were already personally offended at the cancellation of its beloved predecessor, but to add insult to injury, many argued that its 2012 reboot stripped away any essence of character growth. Instead it was claimed to be conceived upon hip-plus-marketable calculations to garner the widest possible appeal to youngings (although based on its early reviews, I think that someone on the R&D team forgot to carry a 1).

 

Finally, fast forward 7 years to 2017 and there was a glimmer of hope: emerging out of Ultimate Spiderman’s 104-episode ashes were interesting character designs followed by talk of a Spiderman series that would unite old and new fans. News spread like wildfire, and soon enough fans were optimistic that a series would finally live up to its 2009 rendition.

 

 

Then late 2017 rolled by and the pilot of Marvel’s Spiderman (alternatively known as Spiderman 2017) graced the small screen.

Were the predictions correct?

Not by a long shot.

 

spidergwen-milemorales-peterparker-spiderman

You could here the hearts of veteran Spidey fans break all over the world (or North America at least). The first, second, and third impression of the series were unfavorable at best, and cartoon fanatics everywhere began ranking this new series lower than its former counterpart. Disney Television Animation received a third-degree burn courtesy of De ja vu in reliving the disdain of 2012’s Spiderman relaunch.

 

Well, allow me to say that I’ve just completed Marvel Spiderman’s entire first season, and am here to come to its rescue!

No, the series is definitely not as emotionally complex as Spectacular Spiderman, and no it doesn’t even come close to emitting the same amount of swag as its beloved predecessor—I mean, just listed to this theme song:

But to place this under the Ultimate series would be a crime. Sure, I’ll admit it has a rocky start, but what series doesn’t struggle to find its footing at first? It takes a while to settle into its stride, but it does get there eventually (A.K.A. halfway through its first season).

 

The series’ characters are not very complex at first. Peter Parker himself is not entirely relatable to start with either—jokes falling flat plus high-and-mighty demeanor is not an ideal combination. However, as time passes he and his peers become much more likable.

 

Selecting Horizon High as the series’ main setting is an interesting choice, as it provides an environment where Peter can showcase his quick wit and intelligence—highlighting his greatest qualities at best. It’s also incredibly encouraging to see that Peter’s friends are deeply invested in science without compromising an ounce of coolness.

 

As the pilot mentioned: Science is the new currency, which is the basis of this series. At times where Spiderman cannot pull something off, Peter Parker comes to the rescue with his resourceful and science-incorporated ideas. In this rendition of the web head’s story, our hero is not all about his spider-inspired abilities; instead, half of Spidey’s battles are won because of Peter’s unique mind. Unlike previous Spiderman cartoons, the line between Spiderman and Peter Parker is much more blurred as their personas heavily bleed into one another. Or rather, Peter doesn’t shed his civilian form completely when he changes into his red-and-blue body suit.

 

The series also explores many storylines unseen in modern Spiderman cartoons. The Spider Island arch was intense with incredibly high stakes. In this plot, along with those preceding and following, Spiderman does not hesitate to ask for help from other masked heroes along with his civilian friends (albeit, they are one in the same). He welcomes a helping hand, and completely understands that Gwen, Harry, Anya, and Miles are smart, strong, and able to stand their ground.

 

The past two Spiderman cartoons did not necessarily follow suit. While Ultimate Spiderman introduced a superhero team to work alongside Peter, they were portrayed as heroes first and civilian peers second. In the series-in-question’s plot, Peter calls upon his friends while in costume willingly as he understands that they are capable of plenty.

 

This is showcases a whole new take to his attitude, in which he knows where his weaknesses are and how others’ strengths can make up for these frail attributes. Additionally, unlike the Ultimate series, Marvel’s Spiderman isn’t afraid to focus more on Peter’s personal life rather than shining 95% of the spotlight on his literal hero’s journey. Our protagonist is the intelligent, nerdy, high-school student, Peter Parker first and crime-fighting Spiderman second. For the first time in a long time, the glamorous hero suit is taking a backseat to Peters day-to-day shenanigans. And although this take may not be for everyone, I see it as interesting in refreshing in the realm of superhero cartoons.

 

So to answer the question posed in the title of this article, does this series deserve all of the hate that it has been receiving?

By no means.

Is this the best Spidey cartoon out there?

By no means (but it definitely deserves a higher ranking than Ultimate Spiderman).

 

Spiderman 2017 is above being a mediocre series. It is an exciting watch that carries substantial more charm than the heavily manufactured Ultimate Spiderman. Its secondary characters are admirable and three dimensional. Despite their unnaturally high IQs, they feel like real individuals; in that rather than having a single overpowering trait that defines each of them as a whole, many descriptors can be pooled to describe their personalities—an anomaly in the arena of animated series.

 

Image result for spiderman 2017 cartoon horizon highSo, to all new and old Spiderman fans alike, I personally invite you to give this series a shot. Approach it with an open mind, and try to disconnect from the high expectations left behind in 2009. We are almost a decade past this point, and as glory as the past is, it’s called the past for a reason. It’s about time to start looking forward (the chances of Spectacular Spiderman returning with a third season is miniscule anyways).

 

So from one cartoon fanatic, and Spectacular Spiderman fan to another, I honestly recommend this series if you are looking to fulfill a Spiderman fix!

Rise of the TMNT — Reboot Done Right?

The Teenage Mutant Ninja Turtles (TMNT) franchise has had many animated renditions throughout the past few decades: 1987, 1997, 2003, 2012. Rise of the TMNT is its latest iteration, with it’s first episode  being released on Nickelodeon’s YouTube channel during the days following the 2018 San Diego Comic Con:

As a first impression, Rise of the TMNT completely exudes style. The characters’ movements are dynamic; the storyboarding is unique and utilizes various interesting angles; and the breaks in fluidity of its animation suits the fast-paced and humorous feel that the series is going for. No longer can critiques say that Flash animation is cheap and lifeless—this series single handedly debunks this now-dated concept. The colours chosen present a cyberpunk-inspired feel, which suits the inner-city personalities and settings that defines the series’ premise.

 

Right from the start of the episode, our 4 humanoid turtles are ziplining across New York City appearing as though they are about to bust a swindle in the middle of an exclusive penthouse gathering; however, this is far from the case. Instead our protagonists are hang-gliding across the skyscrapers of New York City with the objective of jumping into a rooftop pool. Within the first two minutes, the series emphasizes that fact that the mutant ninja turtles are young and naive. They like to have a good time and are not involved in patrolling the city for the sake of busting every crime in the making; instead, it is implied that they only involve themselves in missions that they get roped into and leave everything else for the city’s police force—a refreshing and realistic take relative to a modern superhero narrative.

 

April O’Neil is a lovely addition to the TMNT team as well. She is a firecracker: ambitious, fearless, and more than happy to lend a helping hand to her close friends despite her involvement placing her in dangerous scenarios. She will likely act as a storytelling device through being a bridge between her mutant friends and life as a regular NYC resident—as defined within the context of the series of course—while doubling as a human point of connection for the audience.

 

April is a strong female character who doesn’t hold back when it comes to taking charge. More importantly, the ninja turtles do not question her authority when she steps into a role of leadership, they simply go with the flow. Although a single episode is not enough screen time for the turtles’ individual personalities to truly be showcased, it’s obvious that they each have their own unique quirk that heavily defines them. So far this dynamic showcases plenty of promise to be a lovable collection of personalities that fit together like the perfect jigsaw puzzle—balancing one another out to form a harmonious entourage.

 

It’s no surprise that television reboots are inherently expected to satisfy both new and old audiences by living up to earlier well-loved renditions. Recent animated reboots have been in the midst of controversy as of late in “lacking complexity” to appeal to younger audience members. Additionally, the sole purpose to many recent reboots is assumed to be tied to merchandising. The mixed feelings towards Rise of the TMNT are not evaded in this respect as merchandising is already being churned out for this series. So yes, many might assume that this is yet another complexity-stripped reboot targeted at children for the sake of selling toys (Teen Titans GO! and Powerfuff Girls 2016 have surely helped to pave the way in disdain for cartoon reboots).

 

Image result for rise of the tmnt

This, however, is far from the case when it comes to Rise of the TMNT. The series has plenty of charm, and its dialogue is well thought-out in incorporating a sense of humour that appeals to both younger or older audiences. This series screams the idea that it is not just a simple cash grab—there is plenty heart in it along with clear admiration for the original franchise. The desire to create something refreshingly different is more than evident within its pilot.

 

Rise of the TMNT has plenty to offer its audience, and I truly believe that it can act as a bridge to connect new and old fans to one another. Overall, the series gives off a promising first impression. I highly recommend that everyone’s whom interest is peaked should absolutely give the pilot a try with an open mind.

 


A/N: For as long as I could remember, the Teenage Mutant Ninja Turtles (TMNT) franchise was the epitome of an obscure concept. I never even began to imagine a day where I could enjoy a rendition of these sewer-dwelling anthropomorphic reptiles in any way, shape, or form; yet here we are, after watching the first episode I found it to be quite an unexpectedly entertaining watch.

The Hollow — Netflix Original Cartoon Review

The Hollow is a new Netflix-original animated series produced by Vancouver’s Slap Happy Cartoons. And no, it doesn’t fall under the target demographic of Pre-K or Adult—as most Netflix-original series do. In fact, it has a Y-7 rating, which isn’t groundbreaking, but is definitely an outlier alongside the platform’s slim cartoon offerings.

 

Allow me to start by saying that The Hollow is an entertaining 10-episode ride. I genuinely recommend it, despite its few shortfalls, and here’s why:

 

Its premise.

The Hollow emanates mystery right from its very first episode. The series begins with three teens waking up trapped in a bunker with no recollection of who one another is, and more surprisingly, who they themselves are. Their job is to collaborate to avoid danger within the mysterious world they wake up in, and piece together the mystery of: where they are, how they ended up where they are, and how to return to their normal world—where ever this may be. Within the first minute of the series, the audience is lured through the mystery of the above questions, making viewers more likely to stick around for the ride. The series leaves an impactful first impression that doesn’t hesitate to draw viewers in.

 

Its world.

A major part of the series’ premise is the journey of discovering where the protagonists are based on their setting. The most confusing piece of the puzzle is that there are various realms which our main team explores. Some examples of these creative settings include: a desert city filled with anthropomorphic bulls, an ice-themed palace home to a gigantic snow monster, an abandoned experimental laboratory containing viles of magical potions—the list goes on, seemingly without limitations. These worlds strongly contrast one another and make for a variety-filled setting that is tied together through an interactive map which grows as the protagonists explore its, nonexistent, boundaries further. It does so in a way that leads audiences to crave more exploration into the other potential regions that can be discovered. Watching the characters interact and adapt to their various environments is half the fun of watching the series.

 

Its character-driven story.

The Hollow indeed has a strong premise and mysterious story, but the series is driven more so by its characters rather than its plot. Yes, 2/3 characters fall into heavy tropes, and the self-proclaimed leader of the trio doesn’t have the greatest personality, but the series focuses on the characters as a single unit, working together by using each others’ strengths to solve different puzzles and overcome resisting forces. Yes, the promise of uncovering the who, what, and why of their situation is enough to captivate interest, but it’s not enough to carry a viewer to the very end of this 5-hour Netflix binge. Instead, watching the characters adapt to their surroundings and solve problems is what keeps the audience engaged—almost prompting viewers to think of solutions with the main characters.

 

Although there are many series that provide multiple perspectives so that the viewer understands what is going on on all sides, this series isn’t afraid to keep secrets from the audience; we know what the protagonists know and nothing more. Not only is this uncommon in animated works, but it creates a connection between the audience and the characters in implying that we are along for the ride, and can join in on the attempt to solve problems alongside them.

 

Now for the not so good:

A major complaint of the series is its portrayal of female characters. Mira is an excellent character who isn’t treated like the typical token female. Rather than focusing on her femininity, the series places her intelligence and knack for solving riddles at her core. There was however, one scene where Mira confessed her feelings to Adam and planted an unsolicited kiss on him (cue trope of the token female being at the center of yet another romance side plot), but they both awkwardly and hilariously brush it off and never acknowledge the act again. This scene was the epitome of teenage angst and although seemed to fall along the lines of stereotypical use of the token female, it instead seemed to act like a slap to the face of the main-guy main-girl romance trope. In this sense, this scene uniquely exemplified Mira’s use in the series as a whole.

 

Vanessa of the rival team, on the other hand, was a completely different story. The use of her character fell into a pool of problematic stereotypes, which was such a shame as she could have been utilized more smartly. She in conniving, tactful, and merciless—all great traits in an antagonist—however, her main weapon in fooling the other team is flirtation. She essentially strings Kai along, manipulating his budding feelings to her group’s benefit. This is Vanessa’s defining characteristic, and she constantly goes back to using this “technique” to get ahead.

 

Vanessa is indeed an intelligent and resourceful person, so in stooping to using her “lady prowess” to get what she wants was completely unnecessary. This aspect of her character could have been incorporated much more interestingly, but instead fell into a plethora of negative female tropes.

 

Speaking of the antagonist team, these characters were quite bland as well. Skeet was interesting in that he appears to be a genuinely caring person who was just a part of a different group, whereas the other two were not very complex in only showing a few distinct character traits and not much else.

 

Another story element that received a mixed reaction was the ending of the series. Without spoiling too much, the series ends in live action, which is a personal gripe of mine. Mixing animation and live action is not favourable in my opinion, stylistically clashing in a negative way. It made the series feel cheap in that the switch truly made the series’ small budget apparent.

 

Finally, a point mentioned by YouTuber Norman Dubian (see his review here), as a Netflix-original series, The Hollow is not confined to any rules that traditional broadcasters hold it’s content towards. It could have taken even more risks with its storytelling. But I will personally let this one slide as the series as a whole is steeping in unique.

 

Overall, the pros of the series well outweigh its cons. The Hollow is a unique cartoon that tries and succeeds to be something different in the realm where originality is becoming difficult to come by. It truly stands out, and I highly recommend it!

 

 

 

Boys Matter Too — Portrayals in Cartoons

Female portrayals are improving immensely within the arena of modern-day cartoons. Alongside the increase of women showrunners, writers, and storyboard artists within the animation industry, many female characters are being placed in the roles of leaders, fighters, and influential advocates. A few examples include: Star Butterfly of Star Vs. the Forces of Evil, Marinette Dupain-Cheng of Miraculous Ladybug, many of the Crystal Gems in Steven Universe, and essentially all of the central female characters in the Avatar franchise.

 

Previous articles including:

discuss both the issues of, and improvements being made in, female portrayals within animated works; however, many of these articles fail to acknowledge the other half of the population. Rather than solely criticizing and assessing the way in which female personalities are written, it is vital to correspondingly address the way in which male characters are portrayed within these same works.

 

 

Characters who are beloved by many, myself included, do not escape negatively stereotypical traits. Some examples include: Robin of Teen Titans,  Mike Chilton of Motorcity, Danny Fenton of Danny Phantom, Ron Stoppable of Kim Possible, and Peter Parker of Spectacular Spiderman.

Within these characters live prominent examples of problematic tropes. The first being the promotion of masculinity as defined by strength and dexterity above all else.

 

Robin and Mike Chilton have this feature in common. Traits including fearlessness, ambition, independence despite being part of a team, physical strength and endurance, and natural leadership, are very admirable qualities that many people strive to achieve in reality; however, when these qualities are relatively over-emphasized to the point where they block these characters from openly displaying emotion and compassion, they are shown to have very one-sided personalities. The issue with this specific portrayal is that young viewers, boys specifically, are socialized to admire these characters and what they represent—in other words, variations of the same macho-esque archetype are not only showcased constantly, but they are typically promoted as positive role models.

 

This isn’t to say that characters who fall under this category don’t have any redeeming qualities, since this would be far from the case; more so, the issue is that they lack the ability to show emotion and vulnerability in the face of adversary. Rather than encouraging the healthy display of emotion, male characters throughout many animated titles are inexplicitly chastised for wearing their heart on their sleeve, and correspondingly praised for tackling every issue they face head on.

 

Another problematic trope commonly portrayed through male cartoon characters can be identified through an opposing set of traits: clueless, frightful, clumsy, and emotional are some adjectives that define this stereotype. Characters like Ron Stoppable and Danny Fenton (in civilian form) embody this personality. And despite often being well-loved by the audience, they are typically completely disrespected within the context of their respective series. These characters are seen to hold a low social ranking and are often bullied as a result. They typically carry relatable human insecurities that are openly seen as unfavourable, with other characters treating them as the punching bag of the series or viewing them as a form of comedic relief.

 

Image result for danny phantom denny

They way in which these archetypes are treated in-universe inadvertently reveals that male characters are constantly being gauged on their physical prowess, rather than their emotion and intellect—not to say that the former character type is presented as unintelligent, rather, within context of many of these series, intelligence is not held in high regard relative to physical strength, endurance, and agility.

 

Characters like Danny Fenton along with Peter Parker make up a combination of the two personalities, yet solidify these archetypes as problematic. Their soft-spoken and empathetic personas are targets for harassment, whereas their physically-agile forms are praised by the masses. Other factors are of course in play, including the difference in confidence that Danny and Peter’s alter egos emit, and how this reflects in their likability surrounding characters; but for the most part, being a male character who is kind-hearted and sympathetic is less likely to be presented as widely-admired.

 

 

These portrayals are slowly improving. For example, Adrien Agreste of Miraculous Ladybug is written in a way which both his superhero and civilian personas are well-liked by many, and he doesn’t have to choose between being confident, kind, and brave as these traits are seen throughout all aspects of his personality regardless of if he is wearing his mask.

 

A previous article, pointed out some examples of how the abundance of male creatives tend to write female characters stereotypically; however, it is important to note that this same group of creatives also develop male characters in a way that reinforces stereotypes. Many child-targeted animated series, and programs in general, reinforce societal beliefs of social roles tied to gender because the creative people behind these series were socialized into believing in these characterizations. In other words, this cycle represents a self-fulfilling prophecy.

 

 

When I published an article about how anime promotes the sexualization of, and dominance over women, I failed to mention that, within the same context, male characters are also portrayed in a negative light in being shown to treat women poorly by taking advantage of their submissiveness (though there is no excuse for “fan service” in anime that mainly focuses on sexualizing female characters to their audience, but this is a topic for another day).

 

 

The good news is that, similar to female portrayals in animated works, the presentation of male characters is also improving. Some examples of characters that embody more forward-thinking personalities include: Marco Diaz of Star Vs. the Forces of Evil, Steven Universe of the series under the same name, Hung of Voltron: Legendary Defender, Aang and Sokka of Avatar: The Last Airbender, K.O. of OK K.O., and Craig of Craig of the Creek to name a few. Taking a closer look at these characters reveals many similar traits: honest, earnest, vulnerable, feminist, knowledge-seeking, understanding, mindful, and comedic in which they are written to be laughed with rather than at.

 

 

The TED Talk titled How movies teach manhood presented by Colin Stokes summarizes the issues with male versus female portrayals in all forms of media.  The lecture compares The Wizard of Oz to films of the Star Wars franchise, in how the former movie promotes friendship and leadership, whereas the latter promotes male dominance alongside gallant battles. Stokes also brings up a very powerful statistic: the fact that 1/5 of American women have admitted to being sexually assaulted within their lifetime—which leads the question, “What are [these boys] failing to learn? Are they absorbing the story that a male hero’s job is to defeat the villain with violence and collect their reward which is a woman, who has no friends and doesn’t speak?. . .We have tools at our disposal like girl power and we hope that that will help. But I got to wonder, is girl power going to protect them if at the same time actively or passively we are training our sons to maintain their boy power?”

 

Stokes summarizes that the media text that young boys and girls are exposed to need to present male characters as working alongside their female counterparts—they need to learn to work in unison with others regardless of gender rather than constantly being fed the idea that men are built to fight alone; because in reality, no one should face adversity on their own, head on. 

 

 

Overall, the fight for positive female portrayals in children’s media should also be met with creating multi-facet male characters that kids can look up to. Recent unproblematic series are proving that television animation doesn’t need to fall into unrealistic tropes just because they are familiar. Viewers of all ages are ready for change and, for the most part, have been responding well to characters that represent intelligence, empathy, confidence, insecurity, resilience, vulnerability, and so on—as varied combinations of these traits offer fleshed-out portrayals that many people can relate to on a fundamental level.

 


A/N: Feel free to start a discussion in the comments below. These thoughts were drawn out by Colin Stoke’s TED Talk (linked above and highly recommended). He leads a very thought-provoking speech that has made me realize that rather than focusing so much on the lack of female characters in media, it’s important to assess the quality of male portrayals as well—despite them being much more abundant. There are issues in the way that many creators are presenting characters to young girls and boys, and despite improvement throughout recent years, problematic tropes are still more than prominent.

Additionally, please note that I am a 20-something woman of colour who was raised in a Western country. This is the perspective that I am writing from. Please share your own thoughts as I do not have the fundamental knowledge of what it was like to grow up admiring male characters as role models. I can only try to relate to this topic by attaching my experience growing up with a lack of positive female representation to look up to, and in turn, internalizing many of the problematic thoughts and behaviours that both male and female characters presented.

Stretch Armstrong and the Flex Fighters — Deep Dive Review

Related image

The Deep Dive segment of Animation Discourse is meant to explore popular cartoons, anime, and animated film to ultimately determine what makes for excellent animated works.


 

Stretch Armstrong and the Flex Fighters is a Netflix Original series produced in part by Hasbro Studios. It was released in October of 2017, and has received mixed, but positive-skewed, reviews since.

 

As mentioned in a previous article Selling Out? Stretch Armstrong and the Flex Fighters, the series “. . . is reminiscent of a combination of both Spectacular Spiderman and Ben 10: Alien Force“, and “is actually produced and directed by Victor Cook who worked on the former project, and it definitely shows in both its art style and dialogue points”.

 

In the present-day animation market, which uses Marvel’s Spiderman as its keystone superhero series, Stretch Armstrong offers a much stronger alternative. Although living up to the accredited titles of Spectacular Spiderman and Avengers: Earth’s Mightiest Heroes’ is becoming and increasingly distant dream, Stretch Armstrong walks the fine line of having excellent dialogue and exuding overwhelming charm, along with catering to traditionally younger audiences—in other words, it acts as an solid contender relative to what is currently on air.

 

What makes Stretch Armstrong and the Flex Fighters an enjoyable series?

 

Characters

The characters of Stretch Armstrong are both down to earth and likable. They truly feel like dynamic people, as opposed to walking stereotypes (with the exception of Ricardo who is still presented as quite one-sided). Both Nathan and Jake are full of insecurities, which seem to vanish once they step into their superhero personas. The confidence that they gain while keeping their city safe is realistically shown to influence each character in their day-to-day lives—in that they are more willing to take social risks given they willingly put their own lives in danger for their city whenever needed. The trio’s team dynamic works extremely well in that Nathan and Jake have been friends for an extended period of time due to their clear similarities, while Ricardo is forced into the group due to school circumstances, and correspondingly influences their routine. They each have unique traits that are more than enough to differentiate these characters from one another, utilizing a wide range of personality traits that audiences can relate to on, at least, some level.

 

Secondary characters have also been explored enough to stand out as having dynamic personalities. And although the main characters are male, the secondary female characters (who are hinted to play a much larger role in the second batch of episodes) are not problematic in the slightest; they are shown to be dynamic, intelligent, and capable. And to add to diverse characterization, the main trio is also very culturally different, and which extends to the way each of their home lives are presented—an element that is surprisingly uncommon in children’s animation. Both the primary and secondary characters have familial issues that range from absent parents to being constantly compared to older and younger siblings. By showcasing these personal struggles alongside heroic conflict, the protagonists have to carry plenty on their shoulders. This is not only relatable within the context of struggling to balance various obligations, but also allows we as a the audience to witness the interplay between the personal and professional aspects of their lives—because no matter how much they try to keep these elements separate, they inevitably bleed into one another.

 

Tone

Stretch Armstrong is a lighthearted series that carries the essence of child-targeted, but the elements of all-ages. In other words, it incorporates high stakes with an intensity that doesn’t necessarily translate to the audience fully, but just enough for viewers to stay invested in its plot. A combination of being interesting but not too serious leads to a tone that fosters high re-watch value. Bright colours also add to its lighthearted tone by making it a visually fun watch.

 

Dialogue

Image result for stretch armstrong and the flex fightersCharacters of Stretch Armstrong and the Flex Fighters are presented as realistic and relatable in part due to their dialogue. Not only is there plenty of wit in their conversations, but they also speak among each other very realistically. Nathan in particular is the most relatabe character in the way that he is written. He says whatever is on his mind, no matter how rash or off-topic it may be given the circumstance—a common way of speaking with close friends in actuality. He isn’t afraid to admit his flaws or insecurities, and corresponding to this, is able to see and vocalize his own strong points as well. Aside from some awkward taunting puns while in superhero form, which is hallmark to the superhero genre, the Flex Fighters exercise a solid amount of amusing self-awareness. Teasing one another, along with superhero stereotypes as a whole, keeps the characters’ dialogue comedic and witty.

 

Which areas does Stretch Armstrong and the Flex Fighters lack in?

 

Premise

Image result for stretch armstrong and the flex fightersThe premise of Stretch Armstrong and the Flex Fighters is quite childish when broken down—a group of teenagers stumble upon toxic chemicals that grant them elasticity-themed powers. Not only do our heroes receive their powers in the most trope-complying way, but the element of elasticity that connects their powers as a trio is ridiculous at best. The concept of their city being overseen by a powerful technology corporation, head by its charismatic and intelligent CEO, is a huge stereotype (i.e. Lex Luther of Justice League & Young Justice, Abraham Kane of Motorcity, Vlad Plasmius of Danny Phantom). The characters’ personalities and weekly villains’ interesting designs are enough to differentiate the series from others with a similar premise, but not necessarily enough to define it as anything groundbreaking or unique.

 

Plot

Stretch Armstrong and the Flex Fighters holds up a subpar comparison to its cousin Spectacular Spiderman‘s plot (but in all fairness, many superhero series don’t hold a candle to this title). Episode one of Stretch Armstrong is full of exposition that is presented in anyway but subtle. When Jake gives Ricardo a tour around their school in the first episode, the series’ writers use this as an opportunity to glorify the facility full of unique and trope-defying student cliques. This presents Ricardo as a mere storytelling device to explain the series’ context to the audience.

The plot isn’t something that older audiences can be deeply encapsulated by straight away, but its story is intriguing enough to hold attention a few episodes in. It is a series that can be played in the background without missing too much of the substantial narrative. Stretch Armstrong attempts to integrate plot twists in order to keep audiences interested; one of which is pretty obvious, and the other not being as groundbreaking as it was conceived to be; however the attempt to add intensity to the plot does not go unnoticed.

The plot of the first 13 episodes tell a somewhat linear story, which is not very common in the current episodic animation environment. The biggest strength of the series’ plot is the amount of effort and charm that is evident throughout the majority of episodes. The creative team behind Stretch Armstrong are clearly doing their best to create an engaging narrative, given their requirement to comply with traditional marketability as Hasbro ultimately has stake in merchandise tie-ins.

 

Marketability

Stretch Armstrong and the Flex Fighters’ largest drawbacks are due in large part to the series’ focus on marketability. It follows a specific, seemingly researched, formula that gives the three protagonists distinct colours and personality traits that translates well into merchandising. Additionally, placing one member of the trio on a pedestal, in this case Jake Armstrong, as the leader of the group is another common move done in heavily merchandised series—it’s much easier to focus on a central character as the face of the series on promotional material. And it’s no surprise that the head of the series is the only Caucasian character of the group. Unlike another superhero series that is commonly covered on this blog, Miraculous Ladybug, Stretch Armstrong tries to hide the fact that its entire conception is based on the foundation of merchandising. This approach makes the series a lot weaker, as it tends to undermine the viewers’ level of awareness to capitalistic intentions.

 

Conclusion

Overall, Stretch Armstrong and the Flex Fighters is an entertaining series within the sphere of titles clearly designed to target an 8 to 12-year old male demographic. I recommend the series to anyone that is looking for something with more substance than Marvel’s Spiderman as its charm, characters, and dialogue is much better in quality and makes up for the series’ areas of improvement.

Miraculous Ladybug — What Season 2 is Doing Right

Miraculous Ladybug is one of the most popular Americanized cartoon series that is presently being broadcasted on an international scale. It features the kindhearted and clumsy Marinette Dupain-Cheng as she transforms into her crime-fighting superhero alter ego, Ladybug. She works alongside her partner Cat Noir—who, unbeknownst to her, is also her classmate and crush Adrien Agreste—to track down and defeat the dark magic that is plaguing Paris.

 

A/N: The use of the term “Americanized” refers to how the series targets and complies with U.S. styles of storytelling and marketing, not a description of where the series originated, as Miraculous Ladybug was created via a collaboration between French and Korean production companies. 

 

The premise of Miraculous Ladybug follows the format of a typical Japanese “magical girl” anime, being a known genre to anyone even remotely familiar with series along the same spectrum as Sailor Moon. However, it’s fairly common synopsis is not a feature that has initially attracted viewers to the series; rather, its stunning high-quality computer-generated animation is what has captivated the majority of current fans which, until the point of the series’ premier, had been lackluster at best within the context of television animation.

 

Viewers may have grown intrigued by Miraculous Ladybug‘s fluid and cinematic animation along with its well-thought-out character designs, but an educated guess behind why viewers of Miraculous Ladybug chose to stick around for its 26-episode ride, is more likely than not a result of the “love-square” presented from its very first episode onward. While Marinette is in love with her classmate in civilian form, Cat Noir holds romantic feelings towards Ladybug while immersed in his superhero persona. The catch is, they have no clue of each other’s real identities, contradicting the whole idea of a love square because they are actually in love with each other.

The first season played with this love-square dynamic, teasing its audience that a budding romance would soon break the formation; but despite hinting at breaking the status quo, our beloved duo didn’t get far at all.

 

This signifies the core difference between the first and second season; not the fact that season 2 more boldly plays with the romance configuration between Marinette/Ladybug and Adrien/Cat Noir, but rather the fact that the creative team behind Miraculous Ladybug is so willing to break this pattern that has been integral to season one’s 26 episodes (24 excluding the origin episodes that show how our protagonists initially receive their miraculouses). The series’ writers and storyboard artists have clearly worked tirelessly to create something intriguing, and this seemingly newfound passion has greatly influenced the quality of the second season for the better.

 

 

While season one of Miraculous Ladybug tends to take itself seriously, its second season isn’t afraid to make fun of itself. Season 2 has a layer of self-awareness that admits to its audience that the premise of the series has some narrative gaps, rather than thinly extending viewers’ suspension of belief. Ironically, the addition of self-aware comments in Miraculous Ladybug‘s second season is used as a tool to strengthen its questionable plot points by revealing that even some of the characters are unsure of what is happening. It also paints the series as more playful, making it clear that the writing staff enjoys what they are doing. It is clear that more time was taken to write and translate the characters’ dialogue, which is most likely the reason behind the creative staff exuding charm and enjoyment into the batch of episodes.

In a more recent episode of Miraculous Ladybug‘s second season, Gigantitan, the series tackles how ridiculous Marinette’s stalker-like crush is on Adrien. It makes fun of itself though Marinette and Alya coercing their friends into helping Marinette live out one of her Adrien-involved fantasies. This is a great diversion from her season one portrayal, as rather than presenting her boy-obsessed tendencies as sweet and romantic, the creators are adding a bit of self-aware charm in emphasizing how absolutely ridiculous and unrealistic her attitude towards him can be at times.

 

Image result for miraculous ladybug gigantitanSpeaking of self awareness, season 2 of Miraculous Ladybug makes a larger effort to target slightly older demographics. Rather than aiming solely at children, the executives behind the series have seemingly come to realize that Miraculous Ladybug attracts many teenagers and young adults, alongside children; thus, the creative team has diverted from creating simple episodic plots and instead moved into relatively complex (yet still episodic) narratives. Plot points, including how our heroes will defeat the villain of the week have become much less predictable compared to season one. Additionally, stakes including threat levels of villains, near identity reveals, and those causing alterations to the standard formula of the series, have become much more intense.

Right from the start of season 2, the huge, game-changing, shocking secret (sense my sarcasm) of Gabriel Agreste being one in the same as Hawkmoth is revealed. This is a big deal as it sets the tone for he remainder of the season—Miraculous Ladybug is no longer planning to beat around the bush and is ready to hit the ground running. Keeping Hawk Moth’s painfully-obvious identity a secret was a shaky move from the start, but his identity revelation shows that it has grown passed treating its audience as oblivious. This is the series’ way of inexplicitly informing its audience that it is planning to take the series in a different, more thought provoking, direction.

 

Season two of Miraculous Ladybug also gives our characters more time to shine. Marinette, Adrien, and other background characters are treated as three-dimensional and are increasingly showcased in settings outside of their school, sharing different facets of their lives with the audience. Additionally, characters are given more dynamic personalities; for example, season one’s Cat Noir is presented as mildly problematic through ignoring Ladybug’s annoyance and seemingly forcing his romantic flirtation onto her. Despite Adrien’s whole-hearted intentions, this can make him appear somewhat insensitive. However, less than halfway into season 2 showcases Cat Noir being much more receptive to Ladybug’s outwardly platonic view of him. Although it definitely should not have taken this long to get to this result, season two has been showcasing much more empathetic and relatable characters, while giving the audience more time to follow their personal lives in each episode.

Chloe’s character has slowly been improving. In the first season, she had caused almost half of the akumitizations that have occured, a process that turns everyday people into evil villains through harnessing their negative emotions. After agreeing to try to become a better person in the episode Despair Bear, she has not caused anymore deep negative emotions enough to attract one of Hawkmoth’s akumas. This shows he audience that Chloe is not all talk and is genuinely trying to be kinder; however, it’s difficult to tell for certain given her relative lack of screen time.

Marinette is also shown to explore her feelings towards Cat Noir and we as the audience are slowly beginning to see how her emotions can be quite complicated; rather than being blindly in love with one version of Adrien and not the other, she is now beginning to develop feelings for his Cat Noir alter ego (Glaciator). This reveals that Marinette is not as one-note as she may have been presented in the first season. She is able to see that Cat Noir has some of the same qualities she loves about Adrien, rather than blindly crushing on one over the other. This presents her romantic feelings as much more genuine, rather than being just a typical school-girl crush.

 

 

Finally, season two presents the promise of an expanding scope. Within the first few season 2 episodes, antagonist Hawkmoth akumatizes both a robot (Robustus) and a baby (Gigantitan), actions that were unheard of in season 1. This alone implies that the process of akumatization is directly linked to controlling emotions, without being limited to age or even humans for that matter. This may seem like a small revelation, given that negative emotions have always been the catalyst for akumatization, but it gives the audience something concrete within the context of the series’ lore, helping to ground the setting in some form of pseudoscience, which is plenty more than Miraculous Ladybug has done previously. By reintroducing the Great Guardian at the start of season 2 and increasing his screen time, the series is given an outlet to explain more of the series’ mythology.

 

Image result for alya volpinaA near reveal in the season 2 episode The Dark Owl carries some lasting stakes as well, in that Tikki is now aware of Adrien’s identity. In season 1, the only significant occurrence that is carried over to more than one episode is the fact that Adrien had taken a book of miraculous holders from his father’s office. Season two has much more plot lines that can be carried over. Alya temporarily given the fox miraculous to fight alongside Ladybug and Cat Noir being another one. Although she is sworn to secrecy and will likely not bring the experience up to Marinette, I highly doubt that it won’t be referred to in an upcoming episode. Although her superheroine experience was only temporary, the implications are long-lasting, and it will most likely come to play in the near future.

 

All in all, the second season of Miraculous Ladybug has proved itself to be much more ambitious than its predecessor, keeping audiences more engaged in its narrative and invested in the growth of the series’ characters. Additionally, although we haven’t been given a linear plot yet, the series has been strongly hinting at further progression and character development—two features that are barely graced in season one. Not only is this a much more appealing route to take, but it also shows that the series writers genuinely care for the direction of the show, rather than taking only three months to write 26 episodes with the mentality of quantity over quality—an approach taken during the conception and production of the first season.

 

 

 

 

 

 

 

 

Season 2 has been a huge step up from season one, and I can guarantee that by the end of the second season, its main selling points will dive a lot deeper than love square and pretty animation. Rather, it will be highly praised for its amazing characters, settings, and narrative as a whole—alongside its former points of interest.

 

Mysticons Revisited: Updated Review 2018

Back in August 2017, I published a first-impression review of the Canadian animated series Mysticons. At the time, I had some critiques that still stand to this day; however, I have come to realize that I vastly underestimated the quality and potential of the series.

 

Synopsis:

Produced by Nelvana and Corus Entertainment—two Canadian production companies specializing in children’s programming, specifically animation—has created a series that could potentially become a hit in this day and age online cartoon fandoms. The show surrounds a group of four teenagers, Arkayna, Piper, Emerald, and Zarya, who are brought together through a acquisition quest of the “Dragon disk”, an ancient artifact that is held in the royal ranks of Drake City. This artifact has caught the eye of evil perpetrators who would like to use it’s power to revive a previous overlord. The four girls are unexpectedly granted powers from the disk and are bestowed the unsolicited role of protecting their home from evil beings.

 

To this date, 26 episodes of Mysticons have been broadcasted and I can confidently say that it is a hidden gem in the world of modern-day animation, and amidst the top animated series to come out of Canada. Yes, there are some cliché moments sprinkled throughout its narrative, but these are largely forgiven due to the sheer charm that the characters, premise, and story emit. In the overcrowded world of entertainment media, originality is becoming a scarcity; thus, a long-winded and child-targeted series is bound to incorporate a few tropes. What sets Mysticons apart however, is how it approaches cliché characterizations and plot points, in that it does an excellent job to provide a fresh take on tired old ideas.

 

In my previous, admittedly uninformed, review of the series, I praised its unique premise and vast scope. This opinion still stands, possibly even stronger than it did before. It has been a long time since an Americanized animated series has showcased such ambitious prospects for world-building starting from its very first episode. Based on the first minute of watching episode one, the audience is thrown into a world that combines futuristic, fantasy, and modern-day urban elements, in a space occupied by beings ranging from anthropomorphic cats to pint-sized pixies, to regular humans. A quarter into the episode introduces the audience to strong social divides within the central setting of Drake City, featuring an underground community beneath the metropolis full of inner-city occupants.

 

Comparisons are presented between the “Undercity” environment, home of Piper and Zarya, to the introduction of Emerald and Princess Arkayna who reside in a grand palace as they are tied to the royal family. Showcasing diverse living arrangements within child-targeted animation is a rarity at best, so embracing the mere concept of a city with social divide shows its audience that Mysticons is serious about expanding the scope of its world while even drawing parallels to modern-day social alienation. Additionally, a current plot twist will most likely foster conflict rooted in clashed upbringings of the core Mysticons team.

 

The series centers 4 female leads. This in combination with being set in magical world might lead some to believe that Mysticons merely promotes a feign sense of “girl-power”, that actually feeds into long-lived stereotypes of young female behaviour centering topics of fashion and boys (e.g. Winx Club); however, this is far from the case. The series is heavily action and plot oriented, features that are especially absent in female-led and targeted series—and a combination of elements that are absent in the slice-of-life, comedic, and episodic wave of animated content we have been receiving within the past couple of years (e.g. Ben 10 2017 , Powerpuff Girls 2016, Teen Titans GO!, Unikitty, etc.). It carries an unbiased an indiscriminate outlook towards gender roles and corresponding behaviours, in that the main characters can be easily replaced by male versions of themselves, and the writing could remain mostly unaltered without the characters and story feeling out of place.

 

Not only are the female characters of Mysticons treated exceptionally well by the series’ writers, but they are also well respected within the context of the series itself. The male characters that are featured do not feel the need to exert bravado over our protagonists, nor do they feel intimidated or emasculated by the Mysticons’ deep-seated power. Instead, male and female characters work alongside each other as equal partners striving to reach the shared goal of keeping Drake City safe from evil perpetrators—an element that should be inherent in children’s media, but is unfortunately uncommon within the vast scope of animated works currently available. In more recent years, there have been quite a few well-known series that embrace males and females working in unison without falling into gendered stereotypes (e.g. Star Vs. the Forces of Evil, Steven Universe, Miraculous Ladybug), but in the animated arena as a whole, the dynamic between these characters are often unbalanced and comply with problematic tropes. So on top of production companies straying away from the action genre, the fact that Mysticons falls under this category and presents forward-thinking female portrayals, fills a huge gap in the current animation environment.

 

The four protagonists are very likable, each with identifiable traits that result in a playful dynamic. Although Arkayna is promoted as the leader of the Mysticons, each member has their fair share of screen time and are given three-dimensional personalities to a similar degree. Although characters like Piper and Zarya can be categorized by personality type (e.g. the bubbly and peppy character vs. the tough street character) they definitely have much more going for them than their labels imply. For example, contrast to Piper’s lively personality, she deals with anxiety that roots from her fear of being abandoned as a child before meeting Zarya. Carrying this burden makes her much more complex and has the viewer questioning whether her upbeat demeanor partially disguises the anxiety she’s experiencing, both from her teammates and from herself. Em and Arkayna are also quite complex in that you cannot describe using only a few adjectives—they simply do not fit into a single box.

 

In addition to thoughtful characterization, diversity is a major theme presented in Mysticons. Not only in terms of social standing, but as mentioned previously, the series also utilizes a variety of human and inhuman races that coexist harmoniously. The series even showcases the early budding of a same-sex relationship—and not between background or one-off characters, but involving one of the main protagonists and presented in a way that isn’t glorified. This is groundbreaking in the arena of animation that so vigorously attempts to shelter children from progressively-liberal thoughts. Steven Universe openly promotes sexuality that diverts from the norm, however the characters involved are hidden under the gauze of being alien gems that are personified as humans. Star Vs. the Forces of Evil showcases same-sex couples in the background of an episode, which does wonders to normalize living in a world of diversity; however it does not have a same impact as presenting a human protagonist exploring an early romantic relationship with someone of the same gender.

 

Mysticons‘ level of storytelling and characterization is incredibly ambitious, making it easily one of the most plot-driven cartoon series that is currently being broadcasted. Although it has a few filler episodes near its start, as the plot progresses they become relatively scarce. As a very well-written series with plenty of charm, it’s sad to see that many animation reviewers, especially on YouTube, are brushing the series aside as something that they do not plan to watch anytime soon; however, on the other end of the spectrum, Mysticons’ YouTube channel and social media platforms are slowly but surely gaining momentum and fostering a space for discussion for young and older viewers alike. Although Mysticons has only managed to gain a cult following so far, individuals who consider themselves fans of the series seem to be incredibly invested in its narrative. On top of this, it has only began airing half a year ago, so it has plenty of time to gain further momentum.

 

Overall, I highly recommend Mysticons as it is a very unique series with ambitious storytelling and world-building prospects making it an entertaining watch. Mysticons has showcased to desire to expand in having ambitious social media, merchandising, and production plans; my only hope is that it is capable of staying on the air long enough to see it’s efforts come into fruition.

Selling Out?: Hasbro’s Stretch Armstrong and the Flex Fighters

From My Little Pony: Friendship is Magic (2010 – present)  to Transformers: Robots in Disguise (2015 – 2017)  Hasbro Studios has been behind the production of a wide variety of animated television and web series. As one of the largest toy-manufacturing companies in the world, it’s no surprise that the creation of its sudio’s series are directly tied to merchandising.

 

Hasbro is not the first production company that uses merchandising as a way to justify the hefty financial investment that corresponds with animation. In fact, Disney has used this business strategy for decades in order to increase its project’s revenues outside of the big and small screen. The difference between Disney’s production however, is that storytelling is of upmost priority, while toy sales only follow. On the other hand, the creation of works by Hasbro Studios are directly tied to and financially dependent upon the production and distribution of merchandise.

The conception of works is based upon their potential marketability to either young boys or girls. As series directly conceived on capitalistic foundation, it’s no surprise that many older viewers are heavily against these projects as many have the potential to tell an excellent story, yet are clearly restricted by market demand.

 

My Little Pony: Friendship is Magic is an outlier of this statement, as Lauren Faust did an amazing job in its initial development. And rather than focusing on what toys would sell, she and her team’s main priority has been to create something of high quality. Although Faust is no longer a part of the series’ production, her legacy has been carried over by the writers and storyboard artists who stayed around.

 

The topic of discussion however, is of a new Netflix series produced by Hasbro Studios titled: Stretch Armstrong and the Flex Fighters. This Netflix original series was released in October of this year and has a total of 13 episodes along with an IMDB score of 7.2/10. A promotion for the series was released on IGN’s YouTube channel, but was greeted with many comments against the series:

FistbumpBros: This animation style. Just, wow. You’d reckon in 2017 they could just up the frames?

Muctaru Bah: Gotta makes that money

Gol. D Rodger: Why the black guy always a big muscular loudmouth or a complete dweeb… all I see is white dude with his black and Asian sidekicks yawn…

OTHE: But Why … ?

W01fman: $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

Klaud Speed: I’m guessing a new toyline. This time you gotta buy his stretchy friends and enemies too.

The Illuminati: I remember Stretch Armstrong being a muscly guy not a teenage kid.

Cat’s Tuxedo: Muscly guys aren’t as hip and marketable to their target demo.

YesteryearsGamer: Seriously… what? My only guess is, they wanted an excuse to renew the license. Or they’re bringing out new toys. Well, it is Hasbro, so it all comes back to toy sales for them.

 

Despite the subpar ratings, and the somewhat valid comments shown above, Stretch Armstrong and the Flex Fighters is reminiscent of a combination of both Spectacular Spiderman and Ben 10: Alien Force. The series in question is actually produced and directed by Victor Cook who worked on the former project, and it definitely shows in both its art style and dialogue points.

 

While it is obvious that the series’ central focus is marketability through its character and design choices, many outside features (dialogue, plot, etc.) are quite creatively satisfying. The series is self-aware to a degree in subtly poking fun at cliché superhero tropes, which is one of its strong points. Dialogue can be very comedic, sharing the humor of its brother series Spectacular Spiderman. Some characters are very endearing and dynamic such as Jake, Nathan, and Erica; while others such as Ricardo and Riya fall flat, but additional character exploration can reverse this. Overall, the pros well outway the conceptual flaws and campy premise of teenage heroes granted with elasticity-themed powers. It is an enjoyable and light-hearted series which makes for a very high re-watch value.

 

While consumerism may not be the ideal platform for any form of storytelling to be built on, at the end of the day, it provides avid cartoon viewers with more animated content. It’s important to keep in mind that chastising a series for its capitalistic roots does not entirely exclude traditional television that thrives on advertising dollars. The clear difference is that Hasbro Studio’s series are directly tied to merchandise sales and need to cater its content to the production and distribution of products— while traditionally-aired series are expected to indirectly cater to advertisers through staying within their conceived target market. Overall, both routes are influenced by capitalistic undertones with are inherently just another component of entertainment; as such, should the level of capitalistic sway really be a defining factor of what makes an excellent series? Or rather, should a series be automatically reprimanded simply because it is funded by a children’s toy corporation?

 

In the Internet-dominated (Western) world, and as mentioned in my post titled Teen Titans GO! Does it Really Deserve all of this Hate?, the increase of streaming and torrenting, means that creatives are required to find different sources of funding in order to make their vision come to fruition. So can we really blame studios similar to, and including, Hasbro’s if the result is more opportunities for storytellers, animators, and producers to do what they love while providing their audience with some form of entertainment?

 


Like the vast majority of the articles I post, I honestly had no idea where I was going to take this. The flow state really took over, and I just began writing whatever came to my mind. This makes for some interesting (and sometimes unstructured) articles. Either way, I would love to hear your opinion on the topic of animated series conceived for the purpose of selling merchandise. Should they be considered low-brow entertainment? Or should this aspect be disregarded as long as the works are entertaining? Let’s have a discussion.