The Infallible Fish Reviews: Hilda and the Mountain King

Hilda and the Epic Conclusion!

What’s the Story?

Hilda’s always been wild-at-heart and thanks to that she’s gone on all manner of adventures, even after moving to Trolberg. Whether it’s dealing with Tide Mice, sorting out contracts with the organisation-obsessed elves or befriending the local Nisse, there’s always something new to explore and learn about. However, after a harrowing journey through the home of the trolls with her mum, Hilda was all set for a bit of peace and quiet for once. Unfortunately there’s no telling when an adventure will call and the next morning Hilda wakes up to find herself turned into a troll! Meanwhile Hilda’s mum has woken up to find her daughter replaced by a troll baby! Can Hilda use her wits and courage to find her way home and turn herself back into a human? Or perhaps there are even more pressing matters, why exactly are the trolls gathering outside Trolberg? And what does the Mountain King have planned for the humans behind the city’s walls?

The Review:

And here we are folks, the end of Hilda. At least, at the time of writing this, that’s what this looks to be. The Mountain King is the latest Hilda book to be published and as far as I know Netflix hasn’t announced a third season. I’ll admit this film leaves me feeling very bittersweet. On the one hand it’s great that we’ve got to the end of the story with such a wonderful adaptation that is both word for word what’s in the book, but also isn’t afraid to add new stuff. On the other hand though, this is the end and I’m not sure I’m ready for all this to be over. I fell in love with Hilda back in the first season (you can read my review of season 1 HERE and season 2 HERE). The show is so cozy and charming it’s been like a comfort blanket at times, just wrapping me up and letting me disappear into this pastel-coloured world where magic and adventure are around every corner.

If you haven’t seen the series but are thinking about watching this film then I’d really suggest you watch the series first. This film is a direct continuation, following on from the cliffhanger season 2 left us on. Also, that cozy atmosphere that I was talking about, don’t expect as much of that in this film. There are plenty of moments of levity and wonder, with some fun bits of exploration and additions to the lore, but this is the story of Hilda and her mum’s frantic attempts to get back to one another. I can’t really call that cozy and there are some hard moments, especially with Hilda’s mum where you can see her breaking down under the stress. It all adds to the epic feeling of the film and just a gentle reminder that this story is bigger than any the series has ever tried to tell. The whole town is literally on the line this time.

If I did have one criticism to make about this film, it’s that, as someone who’s read the books, it’s hard not to see all the additional scenes as filler. As I said in the opening paragraph a lot of this film is a word-for-word adaptation, they pretty much took the book and animated it. However there is a big difference between the books and the TV series, mostly in the fact that the series has a lot more characters that it’s introduced. As such the film needs to find something for those people to do so they get little subplots that thread through the story. They’re entertaining scenes certainly and it’s great to see what everyone is up to, but I also can’t escape the fact that they don’t really accomplish anything. Minor spoiler ahead, skip to the next paragraph if you want to avoid it, there’s a moment where Frida and David turn up to help Hilda’s mum, only for her to drop them back home the literal next scene. It’s like the film going ‘I know you want to be apart of this but that’s not the plot, bye!’

Moving back to positives though, let’s talk about subtext. The plot, as I mentioned, is about Hilda and her mum finding one another again, but on a deeper level the story is about something else. The core message of the Mountain King is to not judge by appearances and to try to communicate and understand one another, even when we’re scared. Especially when we’re scared. Trolls have always been a menacing presence in the series, even if Hilda and her friends have learnt not all trolls are bad, it’s still their first instinct to run from one. This isn’t helped by the fact that so little is known about trolls and why they do what they do. Throw in the Safety Patrol driving everyone into a paranoid frenzy and you’ve got a recipe for disaster. It feels like a very appropriate topic for the times as you see the townsfolk giving into misinformation and their own worst instincts. It’s a subject handled with a great deal of care and the film isn’t naive about it either, even by the ending it admits that not everything has been magically resolved, but it’s a start.

The Verdict:

In the end, Hilda and the Mountain King is the finale the series deserved. Everything that I love about the series is still here, the beautiful animation, great music and all the characters I’ve come to know and love. Yes, things are a bit more tense and serious, but the film never loses that sense of fun and wonder that I enjoy so much in this series. Add on some smartly written subtext and you’ve got a nearly perfect package. In fact my only real criticism is that some of the supporting characters feel unable to contribute to the story. That’s a nitpick though and I couldn’t be happier that we got to bring things to their proper conclusion. Now, if you’ll excuse me, I’m going to binge the series from the beginning.

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

The Infallible Fish Reviews: Hellboy Animated: Blood & Iron

Son of a….!

What’s the Story?

In 1939, a young Professor Broom (Bruttenholm) confronted and defeated Erzesbet Ondrushko, a vampire rumoured to bathe in the blood of young women to retain her beauty. Now, all signs point towards someone trying to bring her back. When the agents of the B.P.R.D. (Bureau for Paranormal Research and Defence) are invited to inspect a haunted house, Professor Broom brings along Hellboy, Liz Sherman and Abe Sapien just to be sure. The resurrection of a vengeful vampire is the least of their worries though, as dark forces have been watching the titular Hellboy and they are very disappointed by what they see. Having to contend with ghosts, werewolves, harpies and an ancient Goddess inhabiting an iron maiden, the agents are in for one rough night, and not everyone will live to see the dawn.

The Review

You know, each and every year I’m surprised to reach another anniversary post and yet I keep coming up with things I want to talk about, much like the subject of today’s review. It’s the 7th anniversary of this little blog of mine and, as is tradition around here, I’m going to spend it talking about a franchise/film that I have strong feelings for. Honestly I’ve been meaning to talk about this particular franchise for a while now, ever since I started this blog in fact, and since I spent the first half of this year rereading my collection of the graphic novels, now feels like the right time. I don’t know why I’m trying to treat this like a big reveal, you’ve all read the title and seen the artwork, today we’re talking about the world-renowned paranormal investigator, Hellboy.

I have vague recollections of seeing Hellboy comics and merchandise in different places when I was a kid, but it wasn’t until the first Guillermo Del Toro film that I properly took notice. I’ve been buying said comics on and off ever since and, if you have even the slightest interest in this franchise, I thoroughly recommend them. Not only is Mike Mignola’s art a masterclass in colour, shadows and composition, but the titular hero is just such a likeable and compelling character. Throw in all the legends, myths and folklore that Hellboy often finds himself combating and its almost as if this series was made for me. There is such a deep lore to the series and a starkly different feel than you get from the Del Toro films (though I do enjoy both of those films quite a lot).

On to the subject though, what is Hellboy Animated? The idea for an animated Hellboy series has been floating around for a long time, and really if Invinicible can get its own cartoon, why not Hellboy? Sadly such a series has yet to materialise, but with the relative success of the first Hellboy film there was enough interest to green light two animated features (A third film was in development, but much like the Del Toro films this franchise doesn’t seem to be able to reach that far). As such we got Sword of Storms and Blood and Iron, both with Ron Perlman, Selma Blair and Doug Jones returning to voice their respective characters. Blood and Iron even has the late great John Hurt returning to play Professor Broom. Sword of Storms is a decent film, it’s really just a collection of things that happen with Hellboy interacting with various yokai and creatures of Japanese mythology. Check it out if the mood takes you.

That brings me, finally, to today’s review. Blood and Iron is my favourite of the animated films and, in some respects, it’s my favourite Hellboy film. It is a direct-to-DVD film so it’s resources are limited, but you can feel there’s a great deal of passion behind this project. Not only from the voice talent, because, come on, Ron Perlman was born to play Hellboy, but the direction, even the use of colour, they’re pulling out all the stops they can. Add on to that the fact that, to me, this is the film that feels the most like the comics and is it any wonder I love it so much? This film is loosely based on the second Hellboy mini-series, ‘Wake the Devil’, it even climaxes with Hellboy squaring off against Hecate, Greek Goddess of Magic and Queen of the Witches. Some of Hecate’s dialogue is even pulled directly from the comic. The only things really missing are the revived Nazis, Rasputin’s ghost floating about the place and we’re facing off against a different vampire, but this is meant to be a stand alone film and that stuff would require some context so I can see why they cut it.

Direct pulls from the comics aside, what makes this film feel so much like the series is the way the characters interact. Hellboy is a much more subdued and mature character, he’s a working class joe who does his job with a sarcastic, dry wit. He has a lot of care and respect for his father, Professor Broom and Liz is back in the little sister role as opposed to being the love interest. One of my favourite scenes has to be the first briefing, where they’re all just sat around in armchairs bantering. Liz is trying to remember where they found this pastry place while on a mission, Hellboy is complaining about the quality of the donuts and the boss is wondering whether they should spring for a conference table. None of this Men-in-Black super secret organisation stuff, they’re government employees, working with hardly any budget and just trying to do the best they can.

If you’re looking for Gothic Horror, then look no further than this film. Erzsebet is a great antagonist, and while we don’t get to see much of her in the present day, outside of her horrific resurrected appearance, she more than makes up for it in the flashbacks. Peppered throughout this film are flashbacks to the first time that Professor Broom encountered Erzsebet and it really plays up that Hammer Horror vibe. Interestingly enough the flashbacks are played in reverse order, we start with Broom confronting and defeating Erzsebet and then back track to get to know the players in this tragedy a little better. Each one is perfectly placed to give us a new kernel of information and I do have to admire the writing and direction of them. It’s not a gory film, but there is plenty of death, blood and even a little torture so maybe keep the little kids away from this one.

Lastly, I want to talk about the use of colour in this film. Most of this film is saturated in different shades of blue, since the story plays out mostly at night and it adds to the mood of the film. It also helps our big red hero stand out even more. Green, however, is mostly used for anything that the film depicts as evil, Erzsebet wears a green dress, magic, Hecate and her servants are all coloured or surrounded by green. It helps to keep the film visually interesting. There’s even a scene where, as Hellboy’s fight with a werewolf is reaching its peak, the whole room suddenly becomes coloured red to show that intensity, before dying back down to blue once the fight is over. As I said before, the people working on this film really pulled out all the stops they could and they weren’t afraid to experiment or try things out, for which I can only commend this film. I do wish there were more Hellboy animated films, I have no doubt that I would have loved Shadow of the Claw as much as I did this one, but that will just have to be relegated to whatever dimension is lucky enough to hold all of the unmade Hellboy films. Maybe someday we’ll get that Hellboy animated series.

The Verdict

In the end, Hellboy Animated: Blood & Iron is exactly the kind of Hellboy film I want. It’s dark, gothic and has a clear understanding of the world and characters. You can feel the passion that all involved put into this film and it’s a crime that they weren’t allowed to make more. It is only a Direct-to-DVD film, so it’s budget does show in places, but the skill in the writing, direction and inventive use of colour more than make up for any weaknesses. If you like Hellboy, or even think you might like Hellboy, then check this out. There was a Blu ray release a little while ago. Oh, and read the comics too!

On a final note, I just want to thank everyone who’s managed to make it this far and for putting up with my long-winded, rambling reviews. I hope you enjoyed this as much as I did putting it together. And thank you to everyone who’s viewed, liked and commented on one of my posts in these past seven years, here’s to the next few!

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

The Infallible Fish Reviews: Batman: The Long Halloween Part Two

I believe in Harvey Dent.

What’s the Story?

Gotham City is changing. Carmine ‘The Roman’ Falcone’s family and illegal business operations have been devastated by a bizarre string of holiday-themed murders. While both the police and the Batman search for the killer, Carmine has been forced to new extremes to keep his grip on the city. He’s entered into dealings with the so-called ‘freaks’ of Gotham. Poison Ivy, Scarecrow and Mad Hatter each bring their own brand of insanity to the streets, but they won’t be the only ones. DA Harvey Dent is feeling the pressure, under suspicion for the Holiday killings and fighting a losing battle in the courts, the cracks are finally starting to show. What little justice there is in Gotham may, in the end, come at the other side of a coin flip, even if it costs everything…

The Review:

It’s time for judgement, and ironically (or appropriately depending on which way you look at it) I may need to flip a coin to reach a verdict here. If you want my thoughts on the first part of this adaptation, and the comic it’s adapting, then you can check out my review HERE, but let’s not beat around the bush and just jump straight into things (much like the film does). How does The Long Halloween Part 2 stand as a film in it’s own right? Honestly, it’s not good and it hurts me to say that. The voice cast is superb, perfect for each and every character, I’m quickly falling in love with this animation style and some of the character moments just shine with pure brilliance. The problem is, as great as all those elements are by themselves, when you try and fit them all together the film just doesn’t work. It’s an unwieldy beast of disjointed scenes and terrible pacing. If you do plan on watching this film, which I will still probably recommend, then please watch Part 1 and 2 together. It won’t fix all of the problems, but it might help.

Okay, let’s break this down a little bit because there is actually a lot I want to praise in this film, even if none of it is quite enough to save the whole thing. We’ll start with the voice cast who, again, the only word I have for them is perfect. In my Part One review I singled out Jensen Ackles and Naya Rivera, and while they’re still just as fantastic as they were in Part 1, this time I want to take my hat off to Josh Duhamel. His performance as Harvey Dent/Two-Face is outstanding, you really feel like he’s a man on the edge and then when he starts using his Two-Face voice, chills went down my spine. I also really love that little speech he gives at the end to Carmine about why he’s using his famous coin to decide what ‘justice’ is. It’s the character moments that make this film for me, there are some really great action sequences (like the Poison Ivy/Catwoman fight that starts the film off), but it’s the little conversations between people where this cast are firing on all cylinders.

Unfortunately, as great as the majority of the scenes are by themselves, it’s once you start stringing them one after the other that things come apart. In my previous review I mentioned that I was worried they were going to rush through elements of this story and that’s exactly what happened. The beginning of this film either blitzs through or just plain skips over several issues of the comic and, as sacrilegious as it feels to say, I think they should have just left it all out entirely. As much as I adore any time Poison Ivy gets on screen, or the brief Scarecrow nightmare sequence which is the best animated sequence in this film, they add little overall. There’s some minor plot beats that you need from their appearances, but I really think the time would have been better spent on showing Batman investigate the Holiday killings. Once we reach the halfway point it feels like this film forgets there’s even a serial killer on the loose, abandoning the little title cards it established for each killing in the last film and at the start of this one. There’s just too much stuff that it’s trying to do and it detracts from the moments that really needed the focus.

That brings me to the ending, and I need to talk about the comic one more time. I said in my previous review that The Long Halloween comic isn’t perfect, and it’s the ending where I feel it really falters. Honestly when I first read the comic it was the resolution to the big mystery that was my only disappointment with the story. Not with who the Holiday killer turned out to be, that made sense (and was a lot less convoluted than Hush’s mess of an ending), but I had to mull it over for a long time. The ending leaves a lot open to your interpretation and you have to really go back over things and work out the logistics on your own, the comic gives you no help in that regard, which I can argue both for and against. No, what bugs me is the lack of a cathartic ending, which I guess this is meant to be a grand tragedy and so it should be bitter sweet, but Batman never confronts the true Holiday killer. In this film though, that’s changed. Batman does indeed have a final conversation with the killer and, honestly, I’m not sure which is better. On the one hand, it makes things clearer and allows the killer to dig into their motives a little more, but it creates a giant plothole in that Batman just walks away from the killer with no real explanation as to why. Just a line would have done, there wasn’t enough evidence to convict them, he wanted to respect Harvey’s wishes, heck even a ‘I’ll be watching’ would have sufficed, but no.

The Verdict:

In the end, Batman: The Long Halloween Part 2 is a film that leaves me in two minds (again either ironically or appropriately depending on your point of view). It has some fantastic moments, a terrific voice cast that excels with every line delivered and a great look to it, but the parts are definitely stronger than the whole. All together this film feels disjointed, trying to give its attention to too many plot elements without putting its focus where it should be. It’s a shame as with the proper care and time I think this adaptation could have been one of the best in Batman’s history, but cutting it up as two movies probably wasn’t the way to go about it.

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

The Infallible Fish Reviews: Batman: The Long Halloween Part One

I believe in Gotham City.

What’s the Story?

Gotham is a city as broken and corrupt as they come. Carmine ‘The Roman’ Falcone is the indisputable and untouchable boss of crime, with a stranglehold on everything from the Mayor’s office to the justice system, but that’s all about to change. Three men are working to bring him down. Captain James Gordon, one of the few honest cops in Gotham. New District Attorney Harvey Dent, a man stood at a precipice even if he doesn’t see it yet. Batman, the dark knight who has sworn an oath to save his beloved city. Of course nothing in Gotham is ever simple and the war on crime is complicated by a string of bizarre murders. Members of the Falcone family are being murdered each and every holiday, Halloween, Thanksgiving, Christmas one after the other. Gotham is changing, an empire is falling and everyone is a suspect. It’s time to learn to be a detective, Batman.

The Review:

The Long Halloween is probably one of my favourite Batman comics and, by extension, one of my favourite comics in existence. It’s not perfect, but Jeph Loeb’s noir-soaked world and Tim Sale’s amazing art are what I think of when I think of Batman (alongside everything from Batman The Animated Series of course). For me, it’s not just a story about the early days of Batman and the fall of Harvey Dent (sorry, spoilers for any non-Batman fans), but it’s about the transition of Gotham. We watch as the city moves away from the more traditional organised crime to being a place plagued by costumed and theatrical crime. I’d recommend it whether you’re a Batman fan or not.

With all that being said, I’ve been waiting for an adaptation of this story for a long time. We’ve had pieces here and there, Nolan’s Batman trilogy took a heavy influence from this comic (I’m pretty sure everyone who’s seen The Dark Knight will recognise the scene with the huge pile of money and, yes, that comes from Long Halloween). But this is it. Finally. The full adaptation of The Long Halloween to the screen, or the first part at least with the second due for release shortly. So, how was it? Honestly I have mixed feelings.

There are parts of this movie that I love. I’m still very much enjoying the new animation style that the DC Universe animated movies have adopted (see my review of Justice Society: World War II HERE, to read more about that). The action scenes are fast and fluid, though I did notice a couple of the more quieter scenes looking a bit stiff and awkward. I’m assuming this is down to the rushed release schedule for these films, which is a shame. If any story deserves the time and money to get it right, it’s a work as seminal as The Long Halloween. That brings me to the voice cast, who are all fantastic. Jensen Ackles is perfect for Batman and my only hope is that he gets more to do in Part 2, which brings me to Naya Rivera who unfortunately passed away last year. I’m using the same word again, but she is perfect as Catwoman and it’s a tragedy that we’ve lost her.  

Moving on the plot and, again, I feel like I’m stuck in a positive/negative sandwich. Adaptation-wise it’s very faithful, there are some cosmetic changes but on the whole a lot of effort is put into maintaining the core of the story. Scenes are extended from the comic, we get a bit more action, characters talk more about what they’re feeling and where they’re at. There is a really adorable scene with a young Barbara Gordon that both melted and then broke my heart. The problem is that a lot of this feels like filler. To a degree I can argue that it’s leaning into it’s noir roots and building atmosphere and tension, which it is, but I also can’t escape the fact that a few seconds shaved off of each scene would have really helped this movie (I think this is the first time I’ve wanted one of these animated movies to actually be shorter).

I think the core issue is that the majority of this film is set up, necessary set up, but we’re very much moving things into place and laying out breadcrumbs (sometimes with the subtly of a sledgehammer). I am a little worried for Part 2, this film covers the first 4 issues of the story, there’s 9 left to go. If the next film is rushed I am going to be sorely ticked off. What it all comes down to is that, honestly, I think this film is probably better off watched alongside Part 2 when that comes out at the end of July, I can’t give my full judgement until I’ve seen that. So, I’ll see you then.

The Verdict:

In the end, Batman: The Long Halloween Part 1 is the set up to something that could be truly great, or a disaster in the making. It’s hard to tell at the minute. It’s an incredibly faithful adaptation, taking it’s time to add depth and action in-between the scenes that were already there, unfortunately this does slow down the pacing of the film and it isn’t helped by some lacklustre animation in parts. The voice cast are superb though, breathing new life into this age-old characters and the story is still as great as it’s ever been. Honestly I’m reserving my final judgement until Part 2 is out, so come back when I review that film and we’ll see if this was worth it.

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

The Infallible Fish Reviews: Justice Society: World War II

We live in a society…a justice society.

What’s the Story?

Barry Allen, aka the Flash, is just trying to have a nice, normal picnic with his girlfriend in Metropolis, of course he’s a superhero and that doesn’t last long. One minute he’s teaming up with Superman and fighting Brainiac, the next he’s in World War 2, punching Nazis alongside heroes he’s never heard of. Those heroes would be Wonder Woman, the Flash (Jay Garrick), Hawkman, Black Canary and Hourman, the Justice Society of America, a secret team of super-powered beings sent by the US to combat the Nazis menace in Europe. Their current mission is to find someone who can decode a secret message that will tell them Hitler’s next big plan, while Barry tries to work out how he’s going to get home. Not everything is as it seems though and the Justice Society are in for a lot more than they bargained for. This is war after all and not everyone is going to make it out alive.

The Review:

And we’re back to the DC Universe animated movies! It feels like it’s been an age since I reviewed one of these films, even though I looked at Wonder Woman Bloodlines just last year (you can check out the review HERE). Part of that is down to my general lack of enthusiasm for these films lately. While I’ve enjoyed the majority of the ones I’ve seen, I have to admit that barring a few stand outs (like Death of Superman and Batman vs. Teenage Mutant Ninja Turtles), none of them really hold a candle to DC’s early output of animated films. That might just be changing though. The DC Universe animated movies have undergone a bit of a revamp, there’s a new animation style, a reboot of the universe and, going by this one, a level of care and attention that’s been missing from these films for a while now. Justice Society: World War II isn’t a film that’s going to change the world, and clearly someone was watching the first live action Wonder Woman movie before penning the script, but it’s a great, fun romp that shows a lot of promise for the future.

Before we get to that though, first let’s talk about that new animation style. I have to admit that when I first saw the trailers for this film it took me a while to get used to the new look. I’ve never watched Archer, but that’s exactly what this style reminds me of, the strong outlines combined with the characters designs really give this film a unique look (not counting the previous Superman movie which also uses this style, but I haven’t watched that film, yet). The film looks good throughout, though when it comes to the action sequences that ramps up to spectacular. The action, of which there is a lot, is fast, fluid and full of impact, leading to one heart-pumping sequence after another, especially towards the end of the movie when all the stops get pulled out. Black Canary gets some particularly gorgeous sequences showing off her powers.

Speaking of the characters, let’s talk about them. Part of what surprised me most about this film being released is that there’s some obscure heroes in this roster. The Justice Society isn’t a superhero team that’s made it’s way into popular consciousness yet, despite getting a couple of appearances on TV (They had a two-parter in Smallville and are a big part of the current Stargirl show). I mean, yeah, there’s Wonder Woman, Flash and Superman to draw people in, but, be honest, how many of you have actually heard of Hourman before?

The film does a good job of introducing all of its characters and giving them a few moments in the spotlight, even if it never goes that in depth with any of them. You might not understand the whole of Hawkman’s deal, but through the writing and the terrific voice acting you’ll get a sense of his personality and what he’s like. Which is all you need for this one film. It’s the little quiet moments I love the most, whether it’s Jay and Hourman acknowledging the fact that it’s usually them that has something go wrong with their powers, or Black Canary worrying about how our Flash (Barry) has no idea who they are when he’s meant to be from the future. It humanises all the characters and that makes me care when they dive into the next action sequence.

As for the story, it’s a fun action romp as I said. Most of it is an excuse to get to the next action sequence and, as I mentioned before, there’s a lot of parallels to the first live action Wonder Woman movie. Maybe it’s just me, but seeing Wonder Woman in a World War, jumping around a village while fighting German soldiers, some plot specific things later on and the fact that Stana Katic is clearly doing a Gal Gadot impression, it just rings a lot of bells for me. Putting that to one side though, there’s a lot of fun elements to this film and a fair few surprise appearances by characters I was not expecting to see (Fair warning, if you buy the physical DVD or Blu ray, don’t look at the back cover as that will give one of the surprises away).

There’s also a twist I didn’t see coming and, while I don’t think it was strictly necessary, it’s a fun wrinkle in the adventure. The last thing I’ll say is that, while this is a standalone film and you can easily watch it independent of anything else, there’s also a real sense of laying the groundwork for something here. I mean outside of planting the idea in Barry’s head about some sort of Justice Club for Superheroes, there’s a few plot points that could, and I think will, come back in a later films. It’s got me excited about these films again and if they want to take the approach of standalone films that gradually build towards something than I am all for it!

The Verdict:

In the end, Justice Society: World War II, is a great deal of fun. It’s not going to the change the world or break any moulds, but it’s an exhilarating thrill ride, with a fair number of surprising twists and spotlighting a few characters that could really use it. Plus you get to see Wonder Woman and the Flash punching Nazis and who doesn’t love stuff like that? There is a lot of action in this film, all of it great, but the film also takes the time to give us quieter moments between the characters to humanise them and let us get to know them. This could really be the start of something wonderful and I am all for it. If you haven’t checked this out then make sure you do!

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

Infallible Fish Reviews: Doctor Who: Fury from the Deep

“It’s a sonic screwdriver. Never fails.”

What’s the Story?

The TARDIS lands the Doctor, Jamie and Victoria off the coast of England, where the ESGO complex is drawing natural gas from under the North Sea via a huge network of pipes and off-shore rigs. However something is interfering with the gas flow and there’s a strange sound, pulsating like a heartbeat, inside the pipes. Something ancient has awoken in the sea and this time the Doctor may not be able to stop it, but perhaps Victoria can? Regardless, soon the TARDIS team will be facing the fury from the deep!

The Review:

Season 5 of the classic era is one of my personal favourites in the show’s long history. Not only does it feature a TARDIS team quite close to my heart, with Patrick Troughton’s mischievous Doctor paired up with the ever-loyal Jamie and the sweet Victoria, but it also happens to be the ‘Base Under Siege’ season. Now a ‘Base Under Siege’ is a story archetype found throughout Doctor Who and it’s fairly self explanatory, the Doctor and co find themselves in some sort of facility or structure, a base if you will, and it’s under siege from some invading force. The majority of Season 5 is made up of stories like this and while they can be a little formulaic , they can also be the best of Doctor Who. They’re perfect for that teatime terror the show is so good at, throwing the characters into a pressure cooker and turning up the tension and unease.

Fury from the Deep is one such story, and it’s married with another of Doctor Who’s favourite tricks, taking something innocuous and making it creepy. In this case simple seaweed and foam suddenly turns into a writhing monster that could doom the whole human race! (Have I mentioned how much I love this show enough yet?). This story also gets points for being the first time that the Doctor uses his signature tool, the Sonic Screwdriver, and he uses it to actually unscrew something!

Before we get into the story though, let’s talk about the animation. We get a change in art style with this release and I’m not the biggest fan. It might just be a case of taking some time to get used to it, there’s nothing really that bad about designs themselves but the arms really bug me. They’re too long and thin, in some shots they look alright, but in others they look really exaggerated and off putting. Add on to that a couple of awkward movements and some shots were characters are a little too still as they stand around and it feels like the quality’s regressed. I’ve no doubt that this being made during the pandemic has impacted it, so I’m willing to cut it some slack, but it’s still a little disappointing.  

That brings me to the story itself and while it sticks pretty closely to the formula of a base under siege, it’s well written with a good escalation of the tension and some nice bits of character and dialogue throughout. There are also some nice little inversions to keep things fresh. For example we’ve got Robson, the man in charge who trusts in his own practical experience, to point where he blatantly ignores anything else. I’m so used to seeing some by-the-book snob in charge who refuses to listen to anything practical that it’s nice to see it the other way around for once. It’s also nice that the story clearly shows that Robson does know what he’s doing under normal circumstances and he has the respect of his employees. The problem is that this is an entirely new situation and his blinkered, narrow-minded way of looking at things can’t bend enough to be able to cope. It’s little wonder that he starts ranting like a lunatic.

Let’s get to the TARDIS team though and out of all of Patrick Troughton’s run, his adventures with Jamie and Victoria have always been my favourite. Maybe it’s nostalgia talking, the very first black and white Doctor Who story I ever saw was Tomb of the Cybermen featuring these three, but I love their dynamic. The gentle way that the Doctor and Victoria interact, and the unspoken romantic tension between Victoria and Jamie, there’s a lot that can be gotten out of this team and Fury from the Deep does its best to show that. The best scenes in this release are the quieter moments with Victoria. She’s tired of the endless danger and adventure that the Doctor and Jamie get so much of a kick out of. You can tell it’s not an easy thing for Victoria to admit, she loves the Doctor and Jamie, but she wants something else and it’s a great performance by Deborah Watling.

All in all it’s a really well done companion exit, unlike the Faceless Ones where we only got a goodbye scene with Ben and Polly, here there are moments throughout the story where we see Victoria coming to the conclusion to leave. I genuinely wish more companion exits had been handled like this where they get more focus throughout the story rather than just at the end. Also bonus points for not just introducing some guy for her to settle down with as often happened to female companions in Classic Who, instead Victoria gets a place where she can have some peace with a welcoming couple. Extra special bonus points are also earned for taking the stereotype of the screaming female companion and using it against the monster. Victoria isn’t the most egregious example of the trope, but she can sometimes fall into it. By the time the last set of credits roll I’m sad to see Victoria go, but I’m glad she got such a good story to exit on.

The Verdict:

In the end, Fury from the Deep, is a classic episode for many reasons. Not only does it introduce the sonic screwdriver, but we see a companion depart and a showcase of one of the series’ core story archetypes, a base under siege. Dark corridors and creepy tendrils of seaweed evoke an eerie atmosphere and when matched with the quieter, more characterful moments it makes an effective story. This story has been missing from the archives for more than half a century and, while the animation may not stand up to other releases, I’m still overjoyed that these episodes are back for people to see at last. After all, that’s the whole point of these recreations.

I hope everyone is having a wonderful Christmas so far, thank you for taking the time to read this silly little review. Here’s to the New Year, may it be everything we need after the disaster that was 2020. Merry Christmas.

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

Infallible Fish Reviews: Doctor Who: The Faceless Ones

“It’s a flying beastie!”

What’s the Story?

The Doctor and his friends, Ben, Polly and Jamie land at Gatwick airport, right in the middle of a runway! Immediately on the run from airport security, the gang soon find themselves stumbling into a sinister plot when Polly witnesses a man being murdered by a strange weapon. Something is happening at Chameleon Tours and it may just be connected to the recent rash of missing teenagers. As the Doctor tries to convince the Commandant of the seriousness of the threat he’s facing, he finds some of his friends suddenly don’t recognise him and there’s very few people he can trust. The Faceless Ones are here and it won’t be long before they get exactly what they want.

The Review:

I debated for a long time whether I was going to review this story or the animated recreation of Shada for this theme month. On the one hand I have this unwritten rule that this blog is purely for reviews of animated projects, tag posts and shameless plugging not withstanding. I don’t review live action stuff here and Shada does use live action footage as part of its reconstruction. On the other hand Shada is so much the better story, I mean it’s Douglas Adams writing Doctor Who , what more could you want from this world? Look, it’s not that The Faceless Ones is a bad story, all told it’s decidedly decent, it’s just overly long with a rushed, confusing ending. There is a small part of me that wonders if my real problem with this story is just that I seem to be the only one who doesn’t like it. Every review I’ve ever seen of this story is fairly positive, no one is shouting from the rooftops about it or anything, but people do seem to like it. That’s really why I’ve decided to review this story, I just need to get this stuff off my chest so bear with me.

Let’s start with some positives. The first few episodes of the story are surprisingly effective, the mystery of what exactly is happening with Chameleon Tours builds a great deal of tension. Also you’ve got to remember that stories set in the present day were a rare thing back in the early days of Doctor Who. Prior to this there was only the very first episode and The War Machines (where the Doctor took on Skynet 20 years before The Terminater came into being). Seeing alien body snatchers on the loose in a well-known public place would have been quiet the frightening story in the 60s. Unfortunately this plot has been done rather a lot since then and that does blunt it’s impact somewhat for a modern viewer.

Getting back to positives, let’s talk about the Doctor. The wandering Time Lord does get plenty of great moments throughout, whether it’s arguing with the close-minded Commandant, outwitting the Chameleons or just keeping ahead of the authorities, the Doctor is on top form. As for his companions, Jamie gets some highlight moments. Not only showing off the great performance chemistry that Frazer Hines and Patrick Troughton share, but also demonstrating that he can easily take charge when his character is left to his own devices. There’s a reason Jamie is one of the best companions in classic Who and these episodes are a good example of why. Jamie is forever loyal and brave, with his own kind of intelligence on clear display.

Unfortunately the same level of attention isn’t given to the Doctor’s other companions, Ben and Polly. What makes this doubly sad is the fact that this also happens to be their last story and they disappear halfway through only to turn back up for the final few minutes of the last episode. I know why it happened, the contract for Ben’s actor was coming to an end and the higher ups didn’t want to renew it (after all they’d been struggling with three companions in the TARDIS, a lesson I wish the current production would have paid attention to). Polly’s actress wanted to show solidarity and she left too. At least we got a goodbye scene filmed, which is more than some companions got when their contracts ran out midway through a story. Dodo famously left off screen in the aforementioned War Machines.

Let’s get to the real problems of this story though, it really shouldn’t be six episodes long, that’s just too much. The mystery of Chameleon Tours has some good build up in the first few episodes, but the tension it manages to build starts to wear thin as it drags and drags on. It doesn’t help that the number of locations in the story is limited, the amount of times someone decides to go back to the Chameleon Tours warehouse is extraordinary, every five seconds it feels like someone is suggesting they go back to it. Just look around and get what you need, stop going there and coming back over and over again! When we get to the later half and see the reveal of the Chameleon’s space station I should be excited, instead I’m too zoned out because I’m just so done with this story.

The final nail in the coffin comes with the conclusion of the story, so spoilers ahead. First we’ve got the explanation of why the Chameleons are doing this and, okay I’ve watched this story three times now and I still don’t understand it. There was some sort of explosion and this robbed them of their faces and all memories of who they were. So they steal the appearances and identities of young people. Err…okay so they now no longer look like mouldy cabbages, but how exactly does that solve their problem? They still have no idea who they were or what happened, stealing other people’s memories and faces doesn’t change that in anyway. In fact it creates a new problem in that their lives are in immediate danger the second someone interferes with their body-snatching equipment. Also they chose to hide their victims in the airport car park, did they really think no one was going to notice dozens of parked cars with bodies inside? Eventually someone is going to notice that and I remind you that if someone interferes with the equipment on the bodies they all die!

The Verdict:

In the end The Faceless Ones is a pretty frustrating story for me. It starts off well and the Doctor and Jamie get some good moments, but the story is overly long and the conclusion is not only rushed, it’s confusing. The animation is of the same quality as the previous The Macra Terror, if not slightly more refined and there’s the usual eerie soundscape that comes with classic Doctor Who. I won’t personally recommend this story, but there are plenty of people who do like and I can kind of see why so feel free to check it out. Maybe then someone can explain that ending to me.

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

Infallible Fish Reviews: Doctor Who: The Macra Terror

“There’s no such thing as Macra! Macra do not exist! There are no Macra!”

What’s the Story?

The Doctor and his companions, Ben, Polly and Jamie, land in the far future, at an Earth colony where everyone is as happy as can be, possibly a little too happy. Oh they have parades and the music is ever so cheery, making the colonists just that bit more willing to work under the watchful eyes of the Controller, but what exactly are they working towards? There are mines were they extract a deadly gas, but no one can seem to say what for, just that the colony depends on it. There are also rumours of strange, crab-like creatures roaming the colony at night, and as the Doctor and co are soon to find out, where the Macra roam, terror is sure to follow.

The Review:

The second fully animated Doctor Who reconstruction to be released and one that I utterly adore. The Power of the Daleks is by all merits a better story and I knew I was going to love it the moment I first read what it was about. The Macra Terror on the other hand is one I’ve always had very little interest in, I mean on paper it sounds incredibly goofy and I suppose it is, but there’s such a sinister tone to the execution that it makes the whole thing work. Without this release I never would have given this story the time of day and I can’t help feeling a little guilty about that.

Before we get into the story itself though, first I want to take the time to talk about something I skipped over in my last review, and that’s Patrick Troughton as the Doctor. Everyone has their own favourite incarnation of the Doctor, and mine is Patrick Troughton’s second Doctor. As I mentioned before I grew up with the likes of Jon Pertwee, Tom Baker and Sylvester McCoy, but to me Patrick Troughton is the quintessential Doctor. He’s a guileful trickster, playing the clown and the fool, but all the while you can see the cogs turning behind his eyes. He’ll prod and he’ll probe until he’s found his enemy’s weakness and then he’ll go right for it and this story is a perfect example of that. Asking questions, pointing out the flaws in logic and all the while manoeuvring to expose what’s really going on. It’s brilliant to watch and it’s just a shame that we don’t have the original footage because no one does a facial expression like Patrick Troughton.

Speaking of facial expressions, let’s talk about the animation. My one real complaint about Power of the Daleks was the humanoid character animation and thankfully this release is a huge improvement. The animation is so much more fluid and expressive, add on the fact that we can now see it in colour and the improved effects and lighting and this whole release is a treat for the eyes. I also get a kick out of the backgrounds which look like they’re straight out of a 60s comic strip. That brings me to the Macra themselves and, much like Power of the Daleks, the animation on the monster is the best of all. These huge, lumbering crabs are quite terrifying as they stomp their way towards our protagonists, though it does bring up an interesting question.

You see I’ve seen the original Macra props and they’re, well, pretty rubbish. A wheelie bin looks more realistic and menacing, but that’s not a restriction the animators had to stick to and they didn’t. The animated Macra are far better looking, which raises the question of should these reconstructions stick to the original as much as possible, or should they make improvements where they can? Honestly, when it comes to the Macra I’m all for it, even if Who purists want to sting me up for such a sentiment.

Let’s get on to the story itself though and that is where I think The Macra Terror shines brightest. On paper it’s incredibly goofy, a colony full of happy-go-lucky people, filled with jaunty music and forced smiles secretly being run by giant crab-monsters? That’s so 60s an idea I want to hug it. Yet its the sinister edge to everything that makes this so good. The cheery singing voices telling people to obey, the almost order-like way they’re told ‘it will be fun!’, the hypnosis machines, the correction facilities. Everyone looks so happy, but it makes your skin crawl with how wrong it is. We get to see all this play out on a personal level when one of the companions, Ben, becomes indoctrinated into the colony. Suddenly he’s turning in the Doctor and telling everyone to obey the rules, even when a Macra is stopping it’s way towards him he refuses to accept its existence because he’s been told they don’t exist. In fact it’s only Polly’s life being in danger that snaps him out of it, but as soon as the threat is over the conditioning kicks back in and he’s a loyal drone once more. Ben isn’t my favourite companion, but he’s not a bad one either and it’s genuinely heartbreaking to see him struggle against the mind control.

As for the Macra there isn’t much to them outside of their threatening appearance and the horrifying society they’ve put in place and yet I can’t really dislike them. What’s so wrong with great shadowy evil controlling society being something like a giant crab-monster? It’s goofy, but I love it. That and the mad hysteria that creeps into the Controllers voice when he goes on about there being no Macra.

The Verdict:

The Macra Terror is a joy from beginning to end, taking such a goofy concept and twisting it into a sinister nightmare. The Doctor is at his best, poking holes and beguiling the opposition as he gets closer and closer to the truth. Add on Ben’s own personal struggle as he falls victim to and then tries to fight against the colony’s mind control and you have a great story from Troughton’s era. The animation is much improved from the previous release and having the option to view it in colour is a real treat. I thoroughly recommend it.

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

Infallible Fish Reviews: Doctor Who: The Power of the Daleks

“Life depends on change and renewal.”

What’s the Story?

Having bested the Cybermen and saved the Earth yet again, the Doctor finds his body wearing a bit thin and it’s time for a change. Regenerating into a new, younger form, the Doctor is quite literally a new man, but while his companions Ben and Polly struggle to come to terms with that fact, on the planet Vulcan a strange capsule has been found in the mercury swamps. While tensions rise amongst the colonists and plots for power are put into motion, the Daleks bide their time. They may be weak now, having to play at servants, but before long the colonists will be facing the true power of the Daleks!

The Review:

First broadcast on November 1966, this is probably one of the most important episodes in the show’s long, long history. This is the very first regeneration story for Doctor Who, the changing of the guard from William Hartnell to Patrick Troughton, setting the precedent that would allow the show to replace its lead actor for decades to come. If this had failed then the show would have most likely ended in the 60s. Thankfully that’s not the case and outside of its historic significance, this also happens to be one of the best Dalek stories put to screen. It breaks my heart that the chances of ever finding the original episodes is remote at best, but that’s what these animated episodes are for, to give us a way to experience this story in as close to all its glory as we can get. I’ll warn you all now this is going to be a heavily biased, heavily gushing review so be prepared.  

First though, let’s talk about the structure of classic Doctor Who, this is one story, but it’s comprised of six episodes, each roughly 30 minutes long. I suppose nowadays with more serialised shows its less of a shock to the system than it used to be, but it can take a moment to become accustomed to the style of Classic Who for all those who are interested. Just bare that in mind if you’re planning on using this as your first step into classic Doctor Who. It’s not as pacey as modern stuff, which does give more time to explore a location and characters, which I greatly enjoy.

On that note, let’s start with my one and only real gripe with this production, the animation, specifically the humanoid character animation. Look, I know this project was rushed out by the BBC for one reason or another. In a way it’s very in keeping with the production of classic Doctor Who, done on a meagre budget with extreme time constraints. On the other hand though, these episodes have been missing for more than 50 years, what exactly is the rush to have them produced now? Why not give the animators the time to make this look as good as it possibly can? It’s not as if the animation is terrible, there are some nice movements, but more often than not the humanoid characters move really awkwardly and there’s no nuance whatsoever. Take the scene where the Doctor is supposed to be studying Bragen’s expressions, he’s meant to be subtly watching him, but the animation has the characters stood right on top of one another with the Doctor being as obvious as possible. He might as well be wearing a flashing neon sign that says ‘I’m watching you’. Thankfully this improves with later releases, but I’ll get to that next week.

The animation is much more successful when it comes to the Daleks, they move and look exactly like classic Daleks, rolling around with all the menace the metal pepper pots can bring to bear. There are also a number of shots that the original production would have struggled with, like when the camera pulls back to reveal a room filled with newly built Daleks, or their gruesome production line. The original production had only a handful of Dalek props to hand so, yeah, this time a point goes to the animation for making those scenes as good as they are.

But let’s talk about the real strength of these episodes, the story. David Whitaker knows how to write Classic Who, he’s one of my favourite writers of the era because he knows how to write interesting characters. This may be a Dalek story, but it’s also a story of the people on Vulcan (no, not that one). Whether it’s Lesterson tinkering away with the capsule in his lab and not caring about much else, Bragen plotting to take power by any means necessary or the governor who has no idea about the death and destruction that’s about to befall his colony. All these people have their own motives and plans and they all think they can use the Daleks for their own ends, not realising the danger.

Personal opinion time, for me, the Daleks are at their best when they’re on the back foot. Seeing an army of murder-crazy killing machines is terrifying in its own right, but its the creeping dread of this story that makes them genuinely scary here. If you’re a Who fan you know what the Daleks are capable of, so to see all these people squabbling over petty things while the Daleks are getting stronger and stronger. It puts you in the same position as the Doctor, screaming at everyone to just listen and understand how much danger they’re in. The colonists are so convinced that they’re differences are worth fighting for, that they can use the Daleks to achieve their ends, but how does that all end? With slow panning shots of dead bodies filling the corridors. To the Daleks the differences don’t matter, we’re not Daleks and that’s all the reason they need to kill us. When a Dalek asks Bragen why humans kill other humans it’s chilling because, in truth, a Dalek would never kill another Dalek.

I suppose I should put some words towards talking about the Doctor in this review of Doctor Who. I love Patrick Troughton and he gives a fantastic performance here, but while this is a regeneration story, it’s not a story about regeneration. The first episode is really where the Doctor gets the most focus through his interactions with Ben and Polly and their trying to come to terms with his change. Regeneration is given a simple and effective explanation, with enough vagueness to it so it can be expanded on later. The rest of the time is just the Doctor acting strange while his new personality settles in, though there’s also the suggestion that the Doctor is doing a lot of this to only appear the fool (Sylvester McCoy isn’t the only chess master persona). Of course he’s there to stop the Daleks and prophecies the deaths to come, but really this is a story of Vulcan and the Daleks.

The Verdict:

The Power of the Daleks is a seminal story in Doctor Who’s history, the beginning of the second Doctor’s adventures, the very first regeneration and a terrific Dalek story to boot. For any Classic Who fan this is a must see and I’d recommend it to anyone else as well, though it might be an idea to watch a few other stories first, just to become acclimatised to the style. The animation of the humanoid characters is the one weak point in the production, but the soundscape, the writing and the Daleks themselves more than make up for that.

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.

Cartoon Corner: The Owl House Review

“This is clearly not the PG fantasy world I always dreamed about.”

What’s the Story?

Luz is a self-assured teen just bursting with imagination and creativity, unfortunately that often gets her into trouble. Her latest stunt, a book report involving live snakes, is about to get her sent to summer camp to learn to curb her wild behaviour, that is until a tiny owl steals one of her fantasy books! Giving chase, Luz finds herself transported to a strange, and often grotesque, world, the Boiling Isles! There she is taken in by rogue witch Eda and her adorable demonic partner, King. This may not be the kind of fantasy adventure that Luz has always dreamed about, but it could be just the one she needs. Who needs summer camp when you can instead become an apprentice witch!

The Review

One last stop on the Disney train for this year (they’ll be more next year. Sorry, not sorry. The last couple of weeks have really put me in the mood and there’s a couple of shows that I should have talked about before. So look forward to them!) Anyway, let’s talk about The Owl House. I have been dying to watch this series ever since I saw the promotional images for it last year, it’s first season has finally dropped on Disney+ (part of the reason I even signed up to that service) and it is pretty much everything I wanted. Now I’m not going to claim it’s the ‘Greatest Thing Eva!’, it’s only a first season after all and it’s still got plenty of potential it can grow into, but at the same time I had a lot of fun with this show. I’ll admit I’m a sucker for the current tend of fantasy cartoons with an often hinted at mystery in the background and The Owl House handles all of those elements really well. I like the Boiling Isles as a setting, the series has a great colour palette and I love the grotesque-without-being-gross designs of the locations and inhabitants. What’s really hooked me in though is the humour and the characters.

I knew this series and I were going to get along with the very first joke, in which we see a typical fantasy witch confronting a snake monster and declaring that she’s a ‘warrior of peace’. Then she screams ‘Now eat this sucka!’, turns her staff into a bazooka and just blasts the monster. ‘My only weakness! Dying!’ I could quote the jokes of this series all day long and never get tired of it. That’s not to say the series is wall-to-wall jokes, some of my favourite moments are actually some of the more quieter, characterful ones, like when Luz admits to Amity that she’s not a witch, but she’s training hard to be one (that scene breaks my heart every time).

Let’s talk about the series’ two best girls for a second (Yes I’m a Lumity shipper, what of it?). Luz is energetic and impetuous, which often gets her into trouble even though she has the best of intentions. The series is very obvious with it’s themes of Individuality VS. Conformity and Luz is right in the middle of that. She has her own way of seeing and doing things and the series is very much on her side when it comes to her expressing herself as she wants to, as the show says “Us weirdos have to stick together”. Yet, at the same time, it’s not completely dismissive about joining in with the group either. There are benefits to being in a group, not least surrounding yourself with like-minded people. Eda may gripe about the series’ coven system that locks you into one way of magic, but it’s pointed out a couple of times that Luz has to make up her own mind. Conforming without compromising your individuality, that’s a more nuanced lesson that I’m glad this show is putting forward. Plus Luz is an adorable dork that I just can’t help but root for, watching her learn magic in her own way is a joy across the season.

Now let’s talk about Amity, who may just be the most well-developed character in this series. When we first meet her it looks like she’s going to be the typical school bully character, picking on a fellow classmate for being weaker at magic than her. Yet with each episode she appears in we learn a little bit more about her, and why she’s the way she is. From her overbearing parents to her tormenting siblings, Amity strives for perfection and doesn’t believe she can show any weakness. Yet each time she comes in contact with Luz, her character grows, adapting to this strange new person in her life and pretty soon Amity has evolved from the bully into a potential love interest. (On a side note, check out the song ‘Little Miss Perfect’ on the Write Out Loud youtube channel, it perfectly sums up Amity and has been embraced by us Lumity shippers as our national anthem.) I’m really looking forward to where the show is going to go next with her character and what more we’ll learn about her history.

As for the rest of the characters, Eda, King and Hooty probably take my third, fourth and fifth favourite spots, in that order. They’re all really fun and the banter that they share always brings a smile to my face. Before I wrap this up though, there’s one last aspect of this show that I really want to talk about, the animation. Disney always has quality animation, even when it’s stuck with a TV budget, but there are some spectacular moments throughout this series. The duels between Eda and Lilith and Luz and Amity’s dance magic combo in the Grom night episode being my particular highlights. The animation just flows so beautifully I couldn’t help but be carried away by it.

The Verdict

The Owl House is a good show and a great starting point with a lot of potential going forward. The characters are all funny and likeable, each in their own adorkable way, and they continue to grow and change across the season. There’s a strong theme of Individually vs. Conformity, with a more nuanced answer than I was initially expecting. If you’re after a fun fantasy adventure and don’t mind some grotesque character designs and setting, then I’d definitely recommend this. I can’t wait to see what season 2 has in store for us!

Chris Joynson, aka the Infallible Fish, is a writer, blogger and lover of animation living in Sheffield. The blog updates every Friday or you can follow me on Twitter @ChrisGJoynson.