The aspect of reflexivity especially in animation is an interesting portrayal of the Id. With “The Shivering Truth”, the episodes take this and shape it into abstract textures to relay an idea. Granted some of those stories portray almost a fascination with isolation and internal strife. In truth, most people most of these episodes after midnight but the ideas are sound in almost their Freudian mentality. In this episode, “Carrion My Son” our lead character simply wants to get something for himself but in doing so an establishment which he frequents in giving him what he wants in fact gives him the one thing he does not want. The reflection on this lad’s relationships seems to wither away as it becomes a sort of reverse Gulliver’s Travels with claws. Yet, in another tenet of Freud, the father’s sins beget the son’s in a certain way and yet there is no escape. Eventually the bastion of progression can be acceptance or simply an understanding. There essence of creation and destruction again plays readily here as if one and the same exists both in the character’s mind almost in his resistance to existence.
“JJ Villard’s Fairy Tales” takes on the aspect of the Goldilocks fairy tale. But the darkness, like those of Hansel & Gretel, almost combine in an almost body horror approach much like “The Thing” on acid or perhaps a more diametric vision in luridity of the style of “The Boy” from “Twilight Zone”. In the episode “The Goldilox Massacre” it is wolves, not bears with their sharp teeth and their chicanerous ways that seek to inflict harm on Goldilox. Goldliox roams through the hills as if lost in some world she knows no part of it (much like the original fairy tale). The metaphor of sorts here is the porridge and its representation as small little stick trolls are ground up for dinner. Whether it is the hyper active younger wolf or the gimp induced older brother, the almost Tom & Jerry extremeness to the nth degree of the animation takes it completely over the top. The creatures come apart and then back together again in gory fashion. When Goldilox shows up the progression of the beds, bathrooms, etc in the three levels of definition, how they act are undeniable but metaphorical in their meanings. Even the return home to Goldliox’s abode, which plays at the dynamics of a nuclear family against darkness, turns into a bloodbath. Yet in many ways no one is ever hurt. It is simply what is going on inside their head that manifests itself literally. This is many ways is perhaps the strangest perception of all.
The essence of “The Shivering Truth” is metaphor draped in an essence of lurid darkness. The best abstract material always lies within the visual discrepancies between what is being shown and what the overarching meaning could be. With “The Burn Eater Splits”, the beginning is draped in the notion of prayer as a wish fulfillment where the idea of what one person wants is packed upon another. Even the person who altruistically wants to give a prayer is left handless where his own extensions turn against him and he is left with tentacles. Finally the balance of the fact that the people are simply using each other come to bear, they start failing out of the sky. The story then goes to focus on the one altruistic character who is being forced in many ways to betray his own best instincts. He goes to buy a TV only to just be manipulated into thinking he is a bad person. The ode to “Poltergiest” is made within the context of selling a TV and oddly reflects the barrage of commercialism which is more meant to be escapism. Said character is then inflicted with more would-be sores on his face which tend to be representations of the Twin Towers. The ending in a grocery store where the teller tends to infect everyone with the scratching of his eye seems undeniably true to the corona even though it was probably made before. Eventually the essence of a would-be rapture and the altruistic character rising above it leads to a conclusion that perception with the world is indeed off.
“JJ Villard’s Fairy Tales”, like many of Adult Swim’s late night offerings, has a degree of stream of consciousness and lurid obsessive trajectory while balanced with a bamboozled perception of the world. In this case it is fairy tales moved to the infinite degree of taste to find where the images can progress to on the realm of good taste per se. The first episode “Boypunzel” of course angles on the Rapunzel myth but with an Exorcist vibe. The beginnings are based in a Misery/Exorcist connotation but then thrown into a Children Of The Corn motif. The calming of the demon is through simple vegetables which a paranormal twist which helps with the creation of a child with the sadly unfocused parents. But said raspions are only in exchange for a first born (the child) who becomes Boypunzel. The child is then locked in a tower until a young disabled girl shows up to show him the light. The light is not all it is cracked up to be and is just a parallax on perception. The images can be lurid, especially the essence of blackheads, which don’t bear repeating here. Even “The Naked Gun” style carousing through parks and cemeteries with Boypunzel and his girlfriend has that ode as does obvious “Shining” score cues that really don’t come to bear.