The Lion King: Simba's Mighty Adventure (PS1) - i don't have a nose Video Review!

Ah, yes, The Lion King! One of the greatest animated movies of all time – and one of many to spawn a horrifically bland and boring game. It might not be the worst game ever made but its slow, lagging controls and underwhelming soundtrack make this game more of a timid kitty cat than a lion. Amongst the many enemies you encounter on this ‘mighty’ adventure are hyenas, skunks and – my personal favourite – ladybirds. Yes. There’s nothing more belittling than when a ladybird manages to kill you. Needless to say, this game is not the mightiest lion, but you could still do far worse.

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Felix’s Fact File: Animation Pioneers (8) - Alex Anderson and Television Animation

Born in 1920 in California, Alex Anderson is credited with having created the very first animated production produced solely for transmission on television – Crusader Rabbit. From 1938 onwards, Anderson served as an apprentice every summer at Paul Terry’s studio, responsible for the Terrytoons theatrical shorts, including Mighty Mouse. Anderson’s interest in the field of animation is unsurprising as he was in fact Terry’s nephew.

The pursuance of his interest was stunted, however, by his being drafted in the navy. Shortly after his discharge, he wanted to present the concept of a moving comic strip to TV companies, but understood he needed to collaborate with somebody, and wound up teaming up with his childhood friend Jay Ward. Together they established TAP (Television Arts Productions), and they began working on an idea titled “The Comic Strips of Television”.

Television Arts Productions

The idea was presented to Russ Johnston, programming executive of NBC. The programme contained the cartoons “Dudley Doright”, “Hamhock Jones” and “Crusader Rabbit”, utilising very basic, limited animation – similar to a moving storyboard or animatic. In this respect, Anderson could be perceived as a pioneer of limited animation, later popularised by the likes of Hanna Barbera. Johnston expressed interest in the “Crusader Rabbit” segment, and once this cartoon was given the greenlight, TAP staff set to work on the animation in a makeshift studio above Anderson’s aunt’s garage – which itself became the editing room.

Television Arts Productions

The series itself was visually appealing, with the line segments drawn in bold in order to make them stand out on small TV sets of the era. The series focussed on Crusader Rabbit (voiced by Lucille Bliss), who bore an ironically courageous and aggressive persona despite being a bunny rabbit, and his friends, who included Seymour the dinosaur and Rags, a tiger. Eventually, Anderson was assisted in the writing of the cartoons by Lloyd Turner, who had previously worked on Warner Bros cartoons. Once completed, the cartoons were sent to Los Angeles, where sounds effects were added prior to their distribution.

The show began airing in the summer of 1950, and appealed mostly to a juvenile audience. Crusader Rabbit eventually wound up on over 200 TV stations, although neither Anderson nor Ward make much of a profit. A five year legal case later saw the rights to the characters change hands, during which time Anderson turned his attention to advertising. There was an attempt to revive the rabbit in 1956, in conjunction with William Hanna, but this was abandoned due to the court case. While Anderson regarded Crusader Rabbit as ‘primitive’, he is nonetheless influential in the establishment of limited television animation whose popularity was realised by the early 1960s. He was also, perhaps most famously, responsible for establishing the characters of Rocky and Bullwinkle, although he is often erroneously reported to have worked directly on the show. Anderson passed away in 2010, aged 90.

Television Arts Productions

Sources:

Beck, J. (ed) (2004) Animation Art – From Pencil to Pixel, the Illustrated History of Cartoon, Anime and Cel. London: Flame Tree Publishing.

Hevesi, D. (2010) Alex Anderson, Creator of Rocky and Bullwinkle, Dies at 90. (http://www.nytimes.com/2010/10/26/arts/television/26anderson.html) Date accessed: 25/01/2017 New York: The New York Times Company.

Images:

“Crusader Rabbit Crusade 1 Episode 08” (https://www.youtube.com/watch?v=lCyNmM8oGXY) Date Accessed: 25/01/2017.

“crusader rabbit” (https://www.youtube.com/watch?v=brIA3Va-x-o) Date Accessed: 25/01/2017.

The Mystery of the Missing Melodies: Looney Tunes Bumper Collection (UK VHS)

Okay, so today’s post is a little different. While I normally focus on a specific animated programme, game or movie, today I’m talking about UK VHS releases – specifically the Looney Tunes Bumper Collection set which ran from 1994 to 1999. There are apparently nine volumes in total, although it has become apparent to me that volume 2 has mysteriously vanished from the face of the Earth. The package design of each video was near-identical, with the exception of volumes 3 and volume 9 (the Mil-Looney-Um 2000 special collection). Listed below are the episodes compiled on each video and the colours of each one.

Volume One (1994): ‘Looney Tunes Special Bumper Collection’ (Salmon/Red colour)

Episodes featured:

A Lad-in-his-Lamp, Beep Beep, Honey’s Money, Weasel Stop, Don’t Axe Me, Muzzle Tough, The Egg-Cited Rooster, Captain Hareblower, Bird in a Guilty Cage, Cat-Tails for Two, Doggone South, Fiesta Fiasco, Goo Goo Goliath, Wild Over You, Knights Must Fall, Mouse and Garden, Rabbit of Seville. The Grey-Hounded Hare, Home Tweet Home, Ali Baba Bunny, Birds Anonymous, Catty Cornered, Mississippi Hare, The Foghorn Leghorn, Knighty Knight Bugs, A Mouse Divided, Really Scent.

Notes: This video features a mirror image of the package design on the reverse of the box.

The first seven episodes were original released on the ‘Looney Tunes Video Show (volume 7) VHS.

Volume Two (1995?): ‘Looney Tunes Special Bumper Collection’ (Unknown colour)

Episodes featured:
The episodes for this volume are unknown, but since the UK volumes were re-released as other volumes in Australia, it can be assumed that the contents (and package design) of volume 2 are almost identical to Australia’s volume 7, in which case it contains the following:

A Scent of the Matterhorn, Odor of the Day, Thumb Fun, Rabbit of Seville, Quackodile Tears, The Astroduck, The Egg-Cited Rooster, A Fractured Leghorn, An Egg Scramble, Fiesta Fiasco, Daffy Rents, What’s Up, Doc?, The Fair-Haired Hare, A Lad-in-his-Lamp, Knight-Mare Hare, Awful Orphan, China Jones.

Volume Three (1996): ‘Looney Tunes Special Bumper Collection’ (Blue colour)

Episodes featured:

One Froggy Evening, The French Rarebit, Tabasco Road, Hyde and Go Tweet, Little Beau Pepe, Much Ado About Nutting, What’s Opera, Doc?, Bear Feat, Daffy Duck Hunt, Each Dawn I Crow, Frigid Hare, Hen-House Henery, Hyde and Hare, Little Boy Boo, Mutiny on the Bunny, Zoom and Bored, Beep Prepared, Bugsy and Mugsy, Daffy’s Inn Trouble, Baton Bunny, The Long-Haired Hare, My Little Duckaroo, Bewitched Bunny, Bunny Hugged, Devil’s Feud Cake, Fast and Furry-ous, Gift Wrapped, Hip-Hip-Hurry, A Kiddie’s Kitty, Lovelorn Leghorn.

Notes: This volume bizarrely featured a mirror image of the package design on the front cover – the only known volume to do so.

At over 3 hours, this is known to be the longest bumper collection VHS.

Volume Four (1996): ‘Looney Tunes Special Bumper Collection’ (Purple colour)

Episodes featured:

The Grey-Hounded Hare, Room and Bird, All Fowled Up, Two Scents Worth, Don’t Axe Me, Cats and Bruises, The Scarlet Pumpernickel, Heir Conditioned, Lickety Splat, Mutiny on the Bunny, Feather Bluster, Louvre Come Back to Me, Drip Along Daffy, Mexicali Schmoes, Scaredy Cat, Kit for Kat, Zipping Along, Devil May Hare, Catty Cornered, Weasel Stop, Heaven Scent, The Ducksters, Assault and Peppered, Ant Pasted.

Notes: The final volume to be titled ‘Bumper Collection’, as opposed to the later title ‘Bumper Edition’.

The first volume to feature a Tasmanian Devil cartoon, despite the fact that he appears on the cover of every video.

Volume Five (1996): ‘Looney Tunes Bumper Edition’ (Green colour)

Episodes featured:

Gee Whiz-z-z-z, Zoom and Bored, Fast and Furry-ous, Duck Dodgers in the 24½th Century, Jumpin’ Jupiter, Rocket-Bye Baby, Fool Coverage, The High and the Flighty, Person to Bunny, Devil May Hare, Bedevilled Rabbit, Ducking the Devil, Hot Cross Bunny, Barbary Coast Bunny, Homeless Hare, Canary Row, Putty Tat Trouble, Snow Business.

Notes: The first set to be titled ‘Bumper Edition’ instead of ‘Bumper Collection’.

The first set to contain the standard 18 episodes that was kept for all subsequent releases except volume 9, the Mil-Looney-Um set, which contains 19 episodes.

This is the only set to contain 18 episodes, in which the episodes are not evenly spread across the two videos – instead there are 10 cartoons on tape one, and 8 on tape two.

The package design image has changed slightly – the background is no longer blue but yellow.

Volume Six (1996): ‘Looney Tunes Bumper Edition’ (Pink colour)

Episodes featured:

Zip ‘N’ Snort, Hook, Line and Stinker, Hot-Rod and Reel, Hare-Way to the Stars, Rocket Squad, The Hasty Hare, Holiday for Drumsticks, Stupor Duck, Boston Quackie, Bill of Hare, Dr Devil and Mr Hare, The Fright Before Christmas, Apes of Wrath, Forward March Hare, Hare Splitter, Sandy Claws, Tree Cornered Tweety, Tweet Zoo.

Volume Seven (1998): ‘Looney Tunes Bumper Edition, Volume 7’ (Red colour)

Episodes featured:

Rabbit Rampage, The Million Hare, Mad as a Mars Hare, Big Top Bunny, Shishka-Bugs, Foxy by Proxy, Suppressed Duck, Bonanza Bunny, Run Run Sweet Roadrunner, False Hare, The Jet Cage, Bugs and Thugs, Napoleon Bunny-Part, Lighter Than Hare, Rabbit’s Kin, The Unmentionables, Dog Pounded, Highway Runnery.

Notes: The first volume to have the number of the volume on the package – although some early releases lack this feature.

The only volume to contain any cartoons from the oft-derided Larriva Eleven.

Volume Eight (1998): ‘Looney Tunes Bumper Edition, Volume 8’ (Turquoise colour)

Episodes featured:

People Are Bunny, The Iceman Ducketh, Beep Prepared, Carrotblanca, Catty Cornered, Hyde and Hare, Duck Dodgers and the Return of the 24½th Century, Hare Do, Chili Weather, The Abominable Snow-Rabbit, The Scarlet Pumpernickel, The Wild Chase, Box Office Bunny, Daffy's Inn Trouble, From Hare to Heir, Drip-Along Daffy. You Ought to be in Pictures, Assault and Peppered.

Notes: This is the first volume to contain episodes released post-1980 (although volume 6 does contain one episode that originally aired as part of a 1979 TV special).

This is the only volume to contain an episode released prior to 1948 – 1940’s ‘You Ought to be in Pictures’ – although it should be noted that this is the colourised (dubbed) version from 1995.

This volume contains the remastered version of ‘Assault and peppered’ (1965), initially seen unrestored in volume 4.

Volume Nine (1999): ‘Mil-Looney-Um 2000 Bumper Collection’ (White colour/package redesign)

Episodes featured:

Rabbit Seasoning, Hare Trimmed, Bad Ol’ Putty Tat, Wideo Wabbit, A Street Cat Named Sylvester, Water, Water Every Hare, Dime to Retire, Bunker Hill Bunny, From Hare to Eternity, Greedy for Tweety, Bully for Bugs, Big House Bunny, Of Rice and Hen, A Star is Bored, The Prize Pest, Canned Feud, Rabbit Fire, Tweety’s Circus, Robot Rabbit.

Notes: This final video had its own package design.

UK Collection

So there we have it – a complete, comprehensive list of all the cartoons released as part of the UK Bumper Collection/Edition VHS set. If you look on Amazon or eBay, volume 2 inexplicably remains unavailable, and its content remains a bit of a mystery, which is strange considering the other volumes are still available in large quantities.

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Can Videogames Be Art? – The Last Guardian, Shadow of the Colossus and Okami Retrospective

Last month, SIE Japan Studio unveiled their long (and I mean really long) awaited follow-up to the 2006 PS2 classic Shadow of the Colossus – spiritual successor The Last Guardian for the PS4. For those unfamiliar with videogames, this might mean nothing, but the fact is that this game was in development for almost a decade. Like Ico and SotC, The Last Guardian convincingly draws you into a mythical realm with its own individualistic tone, setting and ambience. Naturally, due to the game’s production hell, the game itself had ironically become something of a myth itself; it almost seemed as though its release was never going to arrive, and the moment it did, it was obvious that it would arouse disappointment, no matter how finely tuned the final product was. It was initially planned for release on the PS3 in 2011, but hardware issues caused it to be delayed until technological advancements allowed for the game’s creative scope. Of course, it’s an ambitious game, as with Team Ico’s previous releases, but with ambition comes flaws, and it was unfortunately the flaws that people tended to focus on, which is somewhat understandable considering the time it took to get this game out on the shopfloor.

The Last Guardian, SIE Japan Studio, 2016

But I get the feeling a lot of people are missing the point. Sure, the controls can be frustrating, and perhaps not as ‘fluid’ as many people were expecting; but in a sense I think that is part of the appeal. I felt the same way about SotC. This game has an interesting story to it, as well as an intriguing set-up. The game sees you slay colossi – giant creatures roaming an otherwise barren wasteland – in order to revive a dead girl at a temple altar. You’re told nothing else, and the mystery surrounding the plot gradually unfolds as you progress – even by the conclusion you’re not *entirely* certain what the hell just happened. But still, despite its critical acclaim, gamers nonetheless expressed dissatisfaction with the game’s controls and the lack of any interesting gameplay between the boss battles. In my mind, however, these people seem to be missing the point. Sure, it’s not for everybody, and yes, you need a lot of patience for it, but I get the impression that it’s *supposed* to be frustrating. Without frustration, there’s no sense of cathartic release, and no sense of moral upset come the finish line. The game achieves two things – it manages to be both ambitious in scope, but also fairly minimalist. This sounds contradictory, but once you actually play it for yourself, you’ll see what I’m talking about. The fact that there’s no other tasks to complete might seem tedious to some, but it adds to the ambience, and it therefore does not risk distracting you from the game’s primary objective.

Shadow of the Colossus, Team Ico, 2006

Now, I’m not going to praise this game any more than this. It is a great game, truly, but there’s not much else to say besides what’s already been said over the course of the last decade. But artistically, it’s not my absolute favourite. I think that title has to go to Clover Studio’s Okami (2006). This game was perhaps the first game I played that I felt bore some merit for its artistic nuances and idiosyncratic visuals. Being a PS2 game, it risked being restrained by the console’s limitations, but the developers instead used this to their advantage and based the game’s graphics on Japanese ink wash paintings, enabling them to increase the game’s scope and length. This is also appropriate considering the main appeal of the game is the utilisation of a ‘Celestial Brush’, which innovatively permits the drawing (and conjuring) of certain items and elements; for example, painting a circle in the sky makes the sun appear, making it daytime, while two vertical lines make it rain. The game is also based on Japanese mythology, and a great deal of research has gone into capturing the look and feel of authentic, traditional Japanese culture. It is truly an epic of a game – perhaps *too* epic for some, though I actually like a lengthy, open-world game in which I can become fully invested. Is it perfect? No. But then, what is? The voices – which are essentially comprised of digitised garbled gibberish – take some getting used to, but they’re not overly annoying, and some argue that the game is a tad derivative, bearing some similarity to the Zelda series. Personally, I think this is a bit of an unfair criticism considering the game’s innovation outside of its structural resemblance – and besides, let’s face it, a good many videogames are going to seem similar in structure because, as with any media, there’s now a procedural layout by which we judge each new product. Even SotC abides by a strictly linear narrative, no matter how conceptually innovative it is. Though Okami is often cited as *one of* the greatest PS2 videogames, it is seldom regarded as the very best, with SotC usually taking the lead. I might be of a dissenting opinion, but the fact is, Okami is the only videogame I have ever become emotionally invested in – and this is nothing to do with graphical capabilities, but story.

Even after all these years, despite these games and the acclaim they have subsequently garnered, the gaming universe is seldom seen to bear artistic value – which is particularly strange since a great deal of videogames play out like an interactive, cinematic feature film. One of the many aspects that is worth noting in The Last Guardian is its attention to detail, its realistic movements and atmosphere – something the original SotC can no longer compete with due to a frankly erratic framerate. As much as I like it, SotC is perhaps the most dated of these three games, not because it’s in any way a ‘lesser’ game, but because the PS2 cannot possibly convey something as impressively as a PS4. But Okami contrarily stands the test of time – it’s certainly no less engaging than it was ten years ago. Will The Last Guardian maintain the same kind of lasting appeal? Only time will tell.

Okami HD, Capcom, 2012

Image Sources:

The Last Guardian - E3 2015 Trailer|PS4 (PlayStation) - https://www.youtube.com/watch?v=zXLZvsSmBIs

Shadow of the Colossus PlayStation 2 Review - Video Review (IGN) - https://www.youtube.com/watch?v=iT-5pSTzRY4

Okami (2006) - Clover Studio, Capcom.

Okami HD reveal trailer (Capcom Unity) - https://www.youtube.com/watch?v=evRYEFzAY8w

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DreamWorks’ Joseph: King of Direct-to-Video

I don’t often look too kindly on direct-to-video produce, particularly when that produce happens to be animated. I understand I am certainly not the only one – and it’s not hard to see why. Just by looking at Disney’s extensive supply of second-rate straight-to-video sequels, one can easily conclude that the average video premiere is typically of an inferior quality. Even releases that are considered at the very least ‘decent’ nonetheless pale miserably in comparison to their theatrically released counterparts, not only due to inferior animation, but also inferior writing and direction. Case in point: just compare The Hunchback of Notre Dame II (2002) with the original 1996 classic. Actually, don’t. There is no comparison. Comparing these movies would be sacrilege.

Joseph: King of Dreams (DreamWorks, 2000)

But we’re not here to discuss Disney. Back in 2000, DreamWorks unveiled a surprise straight-to-video adaptation of the story of Joseph from the Book of Genesis, titled Joseph: King of Dreams. The film is seen as a spiritual successor of sorts to their 1998 blockbuster The Prince of Egypt, which focusses on the story of Moses from the Book of Exodus. Despite the fact that it seldom gets a mention in any ‘top animated movies’ lists, The Prince of Egypt boasts incredible visuals, an impressive score, and a brutally truthful depiction of slavery – a feat all the more impressive in an animated feature film, a genre that usually tends to shy away from portrayals of graphic violence. In these respects, it is indeed true that Joseph falls short – and majorly so.

The Prince of Egypt (DreamWorks, 1998)

But that said, Joseph has an unusual likeability to it. The songs, though ‘nice’, are generally inferior to those in The Prince of Egypt (besides, perhaps, ‘Better Than I’, a beautifully melodic ballad performed by David Campbell that builds in intensity to a powerful finish). This inferiority is, of course, expected. Let’s not forget that that film was responsible for the award-winning hit song ‘When You Believe’, and with Hans Zimmer’s spellbinding score, Joseph poses very little competition. But it doesn’t really *try* to – rather, it acknowledges its own shortcomings, and nonetheless succeeds in delivering a decent successor. The film focusses on Joseph, a child who is praised as a ‘miracle child’ by his father Jacob. Joseph begins to tell of visions he has in dreams, while his brothers become increasingly jealous of his special treatment. The brothers sell him into slavery, tearing his coat of many colours, staining it with sheep’s blood, and claiming to their father Jacob that he had been ravaged by wolves.

Joseph: King of Dreams (DreamWorks, 2000)

The story, by comparison with The Prince of Egypt, is notably less complex, and the animation, for the most part, suffers from being very stilted, especially by today’s standards. It lacks the fluidity of DreamWork’s theatrical releases, and is consequently conveyed as rather dated. One aspect of the animation that is worth noting, however, is the use of computer generated effects to distinguish the haunting dream sequences. They are, for a direct-to-video release, surprisingly artistic, and effectively ‘dreamlike’. It is actually surprising how many familiar names and famous faces they had on board for this project – especially considering its low-key release. Joseph is played by Ben Affleck, while Jodi Benson (of Little Mermaid fame) plays Asenath, Joseph’s wife. Despite the clunky animation and slightly bland and repetitive (but admittedly catchy) songs, Joseph otherwise has the makings of a theatrical release, if noticeably less gritty, complex and memorable than The Prince of Egypt.

Joseph: King of Dreams (DreamWorks, 2000)

Ultimately, this film is a pleasant experience, and one of the better direct-to-video releases out there. On a personal note, I am not the least bit religious, but it doesn’t take somebody overly invested in religion and the Bible to appreciate the ambitiousness and scope of these features. They’re not for everyone though – particularly in the case of this film, some people who identify as being very anti-religious might find the allusions to spirituality somewhat hard to swallow. Even so, Joseph may be the inferior little sister, but it remains an effective and interesting film from start to finish. Though far from perfect, Joseph deserves to hold the title of the direct-to-video king.

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Shrek Treasure Hunt (PS1) - i don't have a nose Video Review!

This week’s review focusses on a forgotten movie tie-in from my childhood. But did it really deserve to be forgotten? … Yes. Yes it did.

Yes, courtesy of TDK Mediactive and The Code Monkeys, I have in my hands the only PlayStation game released in conjunction with the original ‘Shrek’ (well, a year later anyway… Close enough), and boy, is it an ogre of a game! Muddled and mired in muggy controls and glitches galore, this may well have been extracted from Shrek’s swamp itself!

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A God Among Movies: Revisiting 'Princess Mononoke' 20 Years On

Hayao Miyazaki's anime epic Princess Mononoke (meaning ‘spirit princess’) bears the distinction of being the most adult-oriented film of Studio Ghibli's output. Released in 1997, the film truly stands the test of time for its outstanding detail, complex story and characters, and its bravery in handling some fairly mature themes in the form of an animated movie. Now, twenty years later, we take a look back at what is quite possibly one of the greatest animated masterpieces of all time.

Written by Miyazaki, the film focusses on Ashitaka, a young prince who saves a village from a demon. After becoming embroiled with the demon in battle, Ashitaka's arm becomes cursed. Despite poisoning him and sealing his fate to die, the affliction also gives him superhuman strength (as evidenced by the fact that his arrow brutally decapitates and severs the limbs of Samurai soldiers). Ashitaka travels west to find a cure for his curse, and meets the people of Irontown, a mining town led by Lady Eboshi, who continually fights off the gods of the forest. The people are attacked by wolves, led by wolf god Moro, who are accompanied by the mysterious San (the titular princess), a girl raised by the wolves who harbours a hatred of humankind, who piques Ashitaka's interest. The pair identify each other as outcasts, and later form a bond.

As with many other anime films, this is certainly not for young audiences. Indeed, some of the imagery is often violent - visceral even - and other times it's pretty disturbing. But aside from the obvious graphic detail, the story is also fairly weighty, thematically. One of the most substantial themes is the ongoing conflict of the development of humankind and the preservation of nature - but unlike your average mainstream animated blockbuster there is no easy solution - all aspects of the theme are explored in all their ambiguous glory. In addition, there are very few animated films that depict war in such a graphic form - it certainly doesn't shy away from depicting bloody violence, and with the animation itself maintaining such lifelike qualities, it's hard not to wince on your initial viewing. There are few animated films out there that are so unashamedly brutal, especially ones not widely acknowledged to be strictly 'adult'.

But Princess Mononoke's use of violent imagery is in no way gratuitous - it's executed purposefully in order to anchor its messages with greater, more impactful meaning, essentially to visually bridge the gap between two seemingly disparate factions – one of industrialisation and one of nature – by emphasising the homogeneous effects of destruction in both territories. There is no definitive 'good' or 'evil' party; both harbour the threat of regression in a sense, while simultaneously maintaining their own personal motives for growth and preservation of their kind. Morally, as stated before, there is no simple resolution - the only means of resolve is for one to appreciate the other's benefits and thereafter coexist, which I think you'll agree is pretty profound for an animated feature film.

The difficulty in perceiving good and bad is further provoked by the fact that Irontown is home to people who might be considered outcasts themselves by the rest of society - including lepers and ex-prostitutes. Lady Eboshi's label as an ‘antagonist’ is therefore challenged in the sense that she perceives herself as performing an act of public good. Likewise, the role of women is also an atypical depiction. On the one hand, the workers at the ironworks are women, which poses something of a stark contrast to your average Disney princess schlock. But then again, they are subordinates to the governor, who utilises their labour exploitatively. Even more confusingly still, the governor Eboshi happens to be a beautified female, implying perhaps the women of the film, generally, aren't as progressively diverse as they might seem. All the same, Eboshi’s character continues to defy the Hollywood stereotype of the subservient maiden or ‘damsel in distress’. The depiction of San as an aggressive warrior also condemns any preconceived notions of femininity that might accompany the initial viewing of an animated movie with a female lead.

Ultimately, this film is not one to be taken lightly. Its messages are mature and its tone is gritty - at times disturbingly so. It takes a fair amount of concentration to fully absorb and appreciate the morals Miyazaki was attempting to convey - particularly when much of the imagery is distractingly outlandish (in a good way). The animation is richly detailed, the story gloriously dark and complex, and Joe Hisaishi’s score is nothing less than epic. There’s little else to say besides that this is a must-see, and one that ought to be seen as a showcase of what the animated genre is truly capable of.

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Cosgrove Hall: A Brief History

Founded in 1976 by Brian Cosgrove and Mark Hall, Cosgrove Hall Productions was a major producer and distributor of children’s television and animated series. The company was based in Manchester, and throughout the years, it expanded its versatility by covering a number of animation techniques, including hand-drawn cel animation and stop-motion. Gradually, the company was dissolved by ITV in 2009, but it has since been survived by CHF (Cosgrove Hall Fitzpatrick), a company which identifies itself as an extension of the original studio.

The Wind in The Willows, 1983

Amongst their most memorable productions are the original Noddy (1975) series, as well as its spin-off series Noddy’s Toyland Adventures (1992-2001), both of which were stop-motion animated. Another memorable series is Danger Mouse, which aired from 1981 to 1992. The traditionally animated series starred David Jason as the eponymous espionage expert, and Terry Scott as his bumbling bespectacled sidekick Penfold, the hapless hamster. Together they, along with the absent-minded Colonel K, fought most often against the notorious Baron Greenback, a villainous toad bent on attaining world domination. The series’ success also led to the incarnation of another David Jason-led series, Count Duckula, which ran from 1988 to 1993.

Danger Mouse (1981-1992)

'Toad', on display in Bristol, UK

In 1983, Cosgrove Hall produced a stop-motion animated film for Thames Television titled The Wind in the Willows, based on the book by Kenneth Grahame and once again starring David Jason as Toad. Subsequently, its success led to a spin-off television series which was broadcast from 1984 to 1987. Pictured to the right is the model of Toad at an exhibition in Bristol, UK.

In 1989, the company unveiled its only full-length traditionally animated movie for television, The BFG, based on the 1982 book by Roald Dahl. Written by John Hambley and directed by Brian Cosgrove, the film starred David Jason as the BFG (Big Friendly Giant) and Amanda Root as Sophie.

Later programmes produced by the company are not quite as memorable but remained of a high quality. Fifi and the Flowertots (produced by Chapman Entertainment) and Enjie Benjy (2002-2005) saw them return to the traditions of stop-motion animation. Since its dissolution and the passing of the baton to CHF, the company has resorted to using much more prevalent computer animation techniques, including Flash animation. But their programmes nonetheless remain popular amongst young audiences, including Pip Ahoy! (2014-), a series for pre-schoolers once again starring Cosgrove Hall stalwart David Jason.

Fifi and the Flowertots' 'Bumble' on display in Bristol, UK

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Digging Up ‘Denver, the Last Dinosaur’ – The Lost Series

Denver, the Last Dinosaur is a somewhat obscure animated series created by Peter Keefe that ran from 1988 to 1990. Produced by World Events Productions, the show focussed on the adventures of Denver, a dinosaur who hatches in the 20^th century, who is taken in by a group of teenage friends. Episodes often revolve around the gang’s attempts to protect Denver from the bad guys – Professor Funt (which sounds like an inappropriate portmanteau describing his general characteristics), rock concert promoter Morton Fizzback (yes, that is his actual name), and the big, burly Bertha Bird.

Unfortunately the show doesn’t really hold up today. Not only is it intolerably bland and unoriginal, it’s also irredeemably anchored in a cesspool of 1980s clichés, laden with your typical 80s synth soundtrack stings and often laughable faux-cool dialogue (which was clearly dictated by a far older generation of writers with absolutely no concept of coolness). And yes, it’s about as ‘80s’ as you can imagine, with the teens teaching Denver how to do ‘cool’ things such as skateboard. Luckily Denver can inexplicably talk (voiced by Pat Fraley), making it much easier for the gang to communicate with him.

The show, for its time, is not *bad* as such, but mediocre at best. The writing is slow at times and the characters, generally, are rather flat. The villains are your usual cookie-cutter baddies, and precisely why Morton Fizzback wants a dinosaur for his rock concert is beyond me. One can assume it’s because Denver can ‘rock out’ – or at least that’s what’s implied by the bizarre opening sequence which sees Denver sporting a pair of sunglasses and strumming a garish pink guitar. Yeah, this is the 80s, alright. Keeping in mind that it had some pretty hefty competition on TV at the time – such as DuckTales and Teenage Mutant Ninja Turtles – this show stood no chance and was cancelled after two seasons. Having seen a handful of episodes, I can tell you it’s a surprise it lasted that long. Episodes released on home video include the teens’ excursion with Denver to an archaeological dig, and Denver’s discovering his talent as a gourmet chef. It’s not the worst thing you’ll ever see, but you have to admit it hardly coincides with the ‘cool’ image they were going for, indicative of the show’s opening and infuriatingly catchy theme song. I mean, seriously, what were the writers thinking? There’s a talking dinosaur alive in the 1980s and what do they do? They have him become a chef. Really?! Maybe this is too ‘cool’ for me to appreciate…

As if the show couldn’t get any cooler, it was also recommended by the National Education Association. I’m not really too sure why; perhaps it was bland and inoffensive enough to meet their criteria – honestly it’s so generic and clean, you feel somehow ironically unclean after watching it. There’s certainly nothing hugely educational here, at least no more so than any other generic animated television series. There are little redeeming aspects of this series – the soundtrack is oftentimes unbearable, and often mixed so badly that it overpowers the voice acting. Speaking of which, there are some familiar voiceovers here, including the likes of Kath Soucie and Tress MacNeille. But despite these, the majority of voices are disturbingly out of place, with many of the male actors trying too hard to sound like your stereotypical goofy teenage Californian, with the long hair and high waist jeans to complement the overall ‘look’.

Despite the criticisms, it’s still worth a look, if only to observe one of the lesser, less durable animated series of the 80s. Unfortunately, however, it’s worthy of your attention more so as an example of how *not* to appeal to young audiences. No matter how ‘cool’ they tried to make the show, Denver was probably dated the moment it first aired – some might even call it prehistoric. But that pink guitar was pretty cool, right?

Then again, maybe not...

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A Bug's Life (PS1) - i don't have a nose Video Review!

Hello everyone! I'm excited to unveil the first video review of 2017, and the first in a series of retrospective animated movie tie-in videogame reviews. Hope you enjoy, feel free to comment, share and subscribe for more very soon!

Thanks!

Michael (and Felix)

Forgotten Features - The Magic Sword: Quest for Camelot (1998)

It’s widely acknowledged that Warner Bros Animation is not held in as high regard as Disney, but the studio has, on the odd occasion, proven its capabilities with the likes of unexpected masterpieces as Brad Bird’s The Iron Giant (1999). Sadly, Quest for Camelot (also known as The Magic Sword: Quest for Camelot in the UK) doesn’t match up, and is instead representative of the tired formula popularised by your average Disney flick – only not executed nearly as effectively. It’s a shame because there are elements of Quest for Camelot that are actually quite admirable, but there are far too many flaws and obviously derivative aspects that see the film consistently mired in mediocrity.

The main focus of the film is Kayley (voiced by Jessalyn Gilsig), who, in typical Disney-princess-esque fashion, yearns to defy the societal norm and become a knight like her father Sir Lionel (Gabriel Byrne). After Sir Lionel is predictably killed within the first quarter of an hour by villain and fellow knight of The Round Table Ruber (voiced by Gary Oldman, and who could not look more villainous if he tried – how on earth he was knighted in the first place, I’ll never know), Ruber’s pet griffin retrieves the magic sword Excalibur from King Arthur (Pierce Brosnan), only to lose it in the forbidden enchanted forest. After Ruber lays siege to the village and creates an army of human/animal/weapon hybrid warriors, Kayley sets out to find the sword. Along the way she meets Garrett (Cary Elwes), a blind hermit who knows his way around the enchanted forest better than anybody else… somehow, and Devon and Cornwall, a two-headed dragon voiced by Eric Idle and Don Rickles respectively, who serve no purpose other than to fill the clichéd role of annoying sidekick/comic relief – which would probably be more bearable were the characters actually funny.

Devon and Cornwall (Warner Bros, 1998)

Okay, firstly I’d like to make it clear that the film isn’t all bad. As stated previously, there are moments in the film that are somewhat admirable. The animation isn’t too bad, although it’s surprisingly erratic; some animation is rather impressive, and some of it is absolutely horrendous. The characters are, on the whole, extremely derivative and devoid of any original personality. Devon and Cornwall seem to represent Warner Bros’ attempt to mimic the spirit of Robin Williams as the Genie in Disney’s Aladdin (1992), littering their dialogue with pop culture references galore. Unfortunately in this case it doesn’t quite work. The fact that the Genie was, well, a genie seemed to justify his calling upon various time periods as he had this magic ability, and it suited the insincere tone of the movie. Devon and Cornwall are instead conveyed as a strange incongruous anomaly in an otherwise straight-played, period, action-adventure flick. The only aspect that could be considered innovative is Garrett’s blindness, which is laughably underplayed; his debilitation is hardly debilitating, and his adeptness in combat requires some substantial suspension of disbelief. One cannot help but laugh as Kayley leaves Garrett to drive a horse and cart around a blazing fort. Honestly, you’ve never seen anything quite like it.

Garrett (Warner Bros, 1998)

And, in that respect, at least you can’t say this film is boring. Yes, it’s predictable, and laden with inexplicable nonsensical occurrences that seem to propel the story without acknowledging how or why, but it holds your attention. Don’t get me wrong – this has all the elements of a BAD movie, but it’s oddly satisfying in a quirky way I can’t explain. Actors Gary Oldman, Pierce Brosnan and Eric Idle are frankly wasted in this film, and their presence altogether rather jarring; it really is an unusual cast. But beneath all the flaws, you can still recognise what they were trying to achieve with this movie. There are some aspects that are rather clever, including Ruber’s demise (at least to some extent), but ultimately the characters amount to little more than laughably faceless cookie-cutters.

Ruber (Warner Bros, 1998)

Though the plot might not be masterfully constructed, its soundtrack is decent. That said, much like the story, it’s a little unclear what kind of tone the filmmakers were attempting to convey. Some of the songs have a grand, epic feel, such as the opening song ‘United We Stand’, but things soon devolve into your typical Disney-like pop slush courtesy of The Corrs (don’t get me wrong, I quite like The Corrs, but you have to admit it invokes a drastically different tone to the song preceding it). And to round things off, there’s the disturbingly incongruous ‘The Prayer’, the award-winning song performed by Celine Dion, which, though a decent song in its own right, could not be more ill-fitting with whatever the hell is going on onscreen – which involves Ruber’s towering warriors bouncing after Kayley’s horse on tiny warthogs. It really is a spectacle to behold, and one you certainly will not forget. Much like the rest of the movie, it’s just plain odd.

The scene in question... (Warner Bros, 1998)

Suffice to say, this is hardly Warner Bros Animation’s finest moment. It’s an incredibly uneven film with a bland, nonsensical plot, bizarrely incongruous pop culture references, and characters who are essentially ripped directly from your favourite Disney flicks and watered down so much that they are almost devoid entirely of personality. But, as said before, it’s certainly not boring, and as godawful as the plot really is, there are far worse movies out there. Ultimately, however, The Magic Sword sadly proves to be anything but magic.