However, creator Peter Chung's entire approach to the genre of that SF-genre one might call "future revolution stories" remained consistently elliptical and evasive even when the presence of dialogue gave Chung more opportunity for exposition. Then AEON FLUX became a half-hour standalone cartoon show with full dialogue, during which season the possibility of Aeon's having clones was bandied about slightly. Since these shorts were scored but almost totally lacked dialogue, this facet of the heroine's history went unexplained. I should note here that only in the first series of "Aeon" cartoons- ranging from 2-minute to 5-minute episodes- did the heroine repeatedly perish. On occasion Aeon was “killed,” but came to life by the next episode. The scantily garbed Aeon, an inhabitant of a far-future civilization, engaged in assorted obscure missions, sometimes including assassination, against the forces of city-ruler Trevor Goodchild, sort of a futuristic Nero, albeit rendered with more irony. The original “Aeon Flux” cartoons, produced in the 1990s by Peter Chung for MTV’s “Liquid Television,” became popular with viewers chiefly through their feel of enigmatic unpredictability. However, the summation I wrote of the Aeon Flux cosmos remains accurate: In my review of the 2005 live-action adaptation of the cartoon, I mentioned that I hadn't seen the cartoons in some time and thus wasn't sure whether they hewed closer to irony or to adventure, although the live-action film was pretty solidly aligned with the latter. Of the hundreds of films or teleseries collections I've reviewed here since the blog's genesis, AEON FLUX THE COLLECTION is only the sixteenth combative irony. Of all the mythoi to employ the combative mode, that of the "irony" is the least common. If Aeon considered herself to be the edge, Peter Chung certainly pushed the animation envelope right over her.CAMPBELLIAN FUNCTIONS: *cosmological, psychological, sociological* Rest assured, this is no ordinary cartoon. The Liquid Television shorts are in this section, as are other featurettes including "Investigation: The History of Aeon Flux" and "The Deviant Devices of Aeon Flux." The special features are a joy to watch, as well. Aeon will work your surrounds as you watch her blow up buildings just to satisfy her pyromaniacal tendencies. The Dolby Digital 5.1 is impeccable and does justice to the remarkable score composed by Drew Neumann. The only setback is the video quality (standard 1:33.1), with the occasional appearance of artifacts and graininess. While the story does not necessarily echo Romeo and Juliet-type themes, this combination of opposites is intriguing in its paradoxical nature.įans of Chung's work have been awaiting this three-disc release with bated breath, myself included. Aeon Flux is a sadistic, leather-clad secret agent who lives across the border from the enemy state, run by Trevor Goodchild, who is both Aeon's nemesis and her forbidden love. Soon, it was turned into its own 30-minute weekly program. Geared toward insomniacs with an appetite for the avant-garde, LT featured several animated shorts, including Aeon Flux. Before MTV got punk'd and The Real World was still slightly real, the proprietor of music television featured a late-night show so fluid in its experimentation that they called it Liquid Television.
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