| |
|
Cheung's stuff is very adult -- not necessarily in a porno way, but in delving into darker material and being very messy -- while Bird is essentially putting forward "classical" (ie conservative) American values. Bird's stuff is more directly geared towards children, and animation is always perceived as a children's fancy, not unlike comics.
Aeon Flux really impresses me for a number of reasons -- the disparity between episodes, where the circumstances are always different and unrelated but the primary binary between Goodchild and Aeon is reinforced, to remind us (me) of these whisper-thin sexdeathgods going through their usual cyclical arguments/romps/campaigns with and against each other into a frenzy of myth (because most myths are more like variations on a theme rather than having one essential version). The fact that the two of them are the only characters, maybe, with everyone as shadows of them. The elegance of the ugly, where the body is simultaneously eroticized (everyone in fetishwear) and uneroticized (everyone's ugly, distended, mutilated) to the point where they're reduced to being bodies performing actions without any true meaning behind them. I loved that everyone wears jockstraps like they're Clockwork Orange droogs. How often women penetrate men in some way. LOVE. IT. |
|
|
