In keeping with the MTV audience of the time, everything in the animated universe has a quasi-sexual vibe, but the sense of the erotic almost always is attended by elements of frustration.įor instance, in one episode Aeon becomes implicated in killing a female enemy agent, and then becomes interested in the dead agent's boyfriend. Even in the midst of their conflicts, Aeon and Goodchild are occasionally given to embracing and fondling one another. Further contributing to their ambiguity is their past history as lovers, a history that remains in play. Goodchild is often shown to be a scientist in the Frankenstein tradition, seeking to extend the power of humankind to explore new vistas of technology, while Aeon Flux urges caution and restraint. However, Chung may also have borrowed from ironic forms of the espionage genre, since the two sides are often morally ambiguous. As in many revolutionary stories, villain Goodchild is identified with repressive government, while hero Aeon is lined up, at least in theory, with the forces of liberation.
Adult gorilla costume series#
The ten episodes of the half-hour series continually place the leather-clad Aeon in some peculiar situation, toss off a modicum of explanation, and then follow the heroine about in her vaguely defined missions, usually against the forces commanded by Trevor Goodchild.
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.
Adult gorilla costume full#
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. CAMPBELLIAN FUNCTIONS: *cosmological, psychological, sociological*
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