Coming
right after a cartoon built around random unproductive changes is this one
about a change that makes sense to happen, and moves things forward for major
characters.
One of the biggest surprises
of the previous season’s finale was the enemy robot company, Boxmore, getting
overthrown by one of its own robots, Darrell.
Sporting a creative cowboy getup, he ousted the original company owner,
Lord Boxman, into the sun, and took over like it was nothing. As this cartoon shows, regardless of his
childish dress-up, Darrell is easily better at running Boxmore than Lord Boxman
ever was. It’s been previously stated
that the outside villain world did not approve of his obsession with
inconsequently attacking Lakewood Plaza Turbo, so Darrell focuses on what matters. Sales for the company reach new heights and
he’s well-liked by all the other company workers.
Then as a way of embracing the show’s
cartoonish side, Lord Boxman comes back from the sun he was fired into, relatively unscathed. Caring more about
his petty plaza obsession than actual productivity for the company, he goes
into his old office to berate Darrell for his leadership. Darrell, however, is unmoved by his dad’s
rage, insisting that he’s in charge and Lord Boxman is the one who’s working
for him now. There’s a collection of
funny sight gags of Lord Boxman in ill-fitting robot parts while doing robot
work around the factory. When none of
that works out, Darrell decides that the only thing his dad is good for is
attacking the plaza which, after all, is something he won’t stop talking
about.
So to further treat a human like
a robot, Darrell sends Lord Boxman straight there to face K.O., Rad, and
Enid. During the confrontation, they see
through Lord Boxman’s appearance that he’s too pathetic to see as a legit
threat. He confides to them about all
his frustrations of Darell taking over his company, and his enemies tell him
that Darrell would want to be supportive and that he’ll always be his dad. Lord Boxman misses the point at first, saying
that Darell will automatically listen to him because Lord Boxman is the dad. This inspires him to fight harder,
but the bodega heroes easily beat him back to where he came from.
Once Lord Boxman is back, all the comedy of
him adjusting to his robot son running his company brings an endearing
end. The things his enemies told him
finally sink in, and he gives a passionate speech about how Darrell really has
been running Boxmore better than he ever could.
In other words, he’s legitimately proud of him, putting him on his way
for true redemption as a father. He
boldly leaves his son to his work, but Darrell has a heart in the matter
too. He’s saddened by his father leaving
again, and while he continues to run Boxmore as he has been, he also honors Lord Boxman by leaving room to attack the plaza.
Ultimately, the cartoon comes off as a well-rounded work on changes that
benefit, and honoring fresh starts and original legacies, even if they’re evil.
A+
Season 2
Rankings
1.Lord Cowboy Darrell
2.Seasons Change
The next OK K.O. review is an artistic look at filmmaking during a film festival at Lakewood Plaza Turbo.
Next time on MC Toon Reviews is the first episode of Steven Universe Future, "Little Homeschool."
If you would like to check out other OK K.O.! reviews on this blog, click here for the guide made especially for them.
For
this next review set, another favorite animated series is back in the
spotlight. However, to reflect the fact
that it’s met an untimely end, it’s going to cover its final two seasons. Thankfully, put together, these last two
seasons send this series off in style:
OK K.O.! Let’s Be Heroes (Seasons 2 & 3)
Basic Premise
Yes,
sad but true, OK K.O.! Let’s Be Heroes
has come to an end after its second and third seasons, and just when it was
really proving itself as a devoted animated show. At first glance, it just seems like your
run-of-the-mill action show. However,
the first season alone proved that while action and fighting is indeed a part
of the general nature of the series, there’s much more to it than that. In addition to being heavily reliant on
action, it’s also big on animated antics usually coming off as very funny,
energetic, expressive, and full of its own visual gag surprises. In other words, it’s a cartoon, knows it, and
has fun with it in the best way possible which should be easy to see from the
cast populated by almost any character imaginable. Making the show more of a success is the
genuinely endearing heart from the relatable conflict of the titular character
and all sorts of healthy well-developed relationships. This makes the show not only exciting, fun,
and animated, but a wholesome animated series in general. After seeing so much
greatness in the first season, that’s enough to get excited to see it followed
up in the seasons to come.
There
are certainly a lot of great moments to look forward to in these seasons, but
they make the abrupt end of the series all the sadder. However, so not hold off on sharing the hard
truth any longer, I have decided to review the second and third seasons of OK K.O.! Let’s Be Heroes together. They actually go well together anyway, and
are around only slightly longer than Season 1 put together. Above all, it will be a good showing of how
the show takes the strengths of what came before and expands upon them. That
alone is great considering how immersive it is as an animated product.
Once
again though, whether it was the general public not being responsive to the
show as it is, or Cartoon Network unsatisfied with its ratings, this is still
the last we’ll see of OK K.O.! Nevertheless, reviewing the tale-end of it is
a great way to finalize its overall status as an animated show, and is sure to
be a lot of fun to do anyhow. So even if
it is for the final two seasons, let’s dive right in and start the show!
Season 2
Seasons Change
Now
to kick off the second season, this cartoon offers a very intriguing concept
regarding the subject of change. People
often say that changes are typically made to keep things fresh and interesting,
and I can agree to that. However, there
should also be a probable reason for changes to happen, and they need to prove
productive in a situation to be fully acceptable.
The latter option is the main drive for the
story as all of Lakewood Plaza Turbo regroups for the new season, which
in-universe, is the same as coming back from summer vacation. There’s a catch to all this though with many
of the heroes taking up completely random new getups. Some of the more innocent heroes are suddenly
fighting warrior types, and some of the edgier teens have taken up farming for
some reason. The most noticeable changes
come from two of the main heroes, Rad and Enid.
Rad has gone from blue to orange, while Enid has taken up the ways of a clown
mime. The only character who hasn’t
seemed to have gone through any changes is K.O. himself, entering as the same
as he’s always been. However, he’s
completely disturbed to discover Rad and Enid suddenly changing for no good
reason.
From this reaction comes
emphasis on the interesting not often heard idea of how while change can be
good and natural, others are very unwarranted and unproductive. Rad and Enid explain that no matter how K.O.
feels about these changes, they’re a natural part of what’s called a time skip
and are a result of life-changing adventures.
As they explain how they got to where they are, there are flashbacks
explaining the realities of their experiences.
Rad was on a cruise going through many challenges to obtain a tan like
all the other passengers had, but goofed around while bathing in the wrong
tanning oil. Enid claims that her mime
getup came from a ninja class she took at community college, but she actually went
to the wrong class. Somehow, even with
these explanations, it’s easier to side with K.O. who likes his friends the way
they used to be than how they’ve randomly changed.
Even enemies to the plaza have changed when
instead of robots from Boxmore, K.O. has to face a random previously-seen villain, Big Bull Demon. K.O. is
disappointingly overpowered, but Rad and Enid discover how they’re changes
aren’t helping them in battle with Rad’s orange skin itching and Enid unable to
talk. Going back to how they were allows
them to beat Big Bull Demon easily.
After that, there’s a balance to the idea of
change as K.O. subtly alludes to changes that actually did occur in his own
life during the summer.Noticing
flashbacks of spending time with his mom, Rad and Enid discover that their
boss, Mr. Gar, was joining in on them.Then everything is revealed when he and Carol show up and give each
other a kiss on the lips.In other
words, they’re dating, bringing closure to constant instances of their love for
each other and the previous season, and giving an example of changes that can make
sense.As for how K.O. really takes
this, it will be revealed in a previous cartoon.
On the
whole, the cartoon is held back by changes that go nowhere, but the balanced perspective
on the idea of change is a commendable driving force.
A
Be sure to stay tuned for the review of the next episode where everyone at Boxmore experiences changes of their own.
If you would like to check out other OK K.O.! reviews on this blog, click here for the guide made especially for them.
Before
reviews officially wrap up on Animaniacs,
I’m going to look into one last special production for the series; its
first and only full-length feature. As
it’s the final production from the original series crew, it stands as a pretty
exciting send-off as well as a great animated production on its own.
Wakko’s Wish
(December 21, 1999)
Speaking
from personal experience, this is a very special Animaniacs production to me.
I never got a chance to experience the series proper when it was
originally airing, and it was never on at a good time when rerunning. This feature film was basically my first
exposure to the series as I was frequently able to catch it. At that time, it
was constantly airing on channels like Cartoon Network and HBO Family. Through watching it a lot, I easily got a
good feel for the series and the characters starring in it. In other words, this film played a major role
in getting me interested in checking out the actual Animaniacs series. Before I
knew it, I had the DVDs of the series in my possession and couldn’t get enough
of the show. Ultimately, I owe a lot to
this film. Now that I’m really adjusted
to the series though, watching this film is still great fun, but it gives a
true feel to just how loyal to the strengths of the series it truly is.
A
big thing about the background of this film is that when it came to doing an Animaniacs movie, there were a lot of
potential ideas according to blog posts from Tom Ruegger. There were the Warners in a medieval setting with a potential fourth Warner,
a Revolutionary War reenactment, an Oliver Twist parody, a Christmas movie, a Hollywood-themed adventure, and
more. Easily, the potential film ideas
were incredibly plentiful and could go in a variety of ways. In the end though, the film the Animaniacs crew went with took almost
the entire cast of the show and placed them in a fairy tale setting. In other words, the film would play off like
a random segment from the series tending to feature characters in any setup
imaginable. While some could
understandably want a big film for the show to take place in the most important
regular places, like the Warner Bros studio lot, this is still in line with
what the show is about.
There are also good
ways to incorporate such a wide variety of characters which in turn reflect the
size of the theatrical scope of the production.
Placing them in a small village called Acme Falls allows the events of
the film to reach out to everyone. The
hostile takeover by King Salazar doesn’t hold back on showcasing the effects of
the town, mainly through the people getting mercilessly taxed. There’s shops closing, citizens starving, and
people doing nothing but trying to hold onto hope in such lousy
situations. Even when a bit of hope does
come from someone getting money, that’s easily taken away, and everyone
becomes miserable again. However, it
isn’t long before an even bigger bit of hope in the form of a wishing star
falls to Earth, and there’s a big scramble to get to it and earn a wish that
can change everything.
From
the premise alone, this sounds like a pretty good movie, if a bit generic on
the fairy tale aspect. That said, there
are parts that can feel off when it comes to staying true to the feel of Animaniacs proper, mostly from the tone
of the film. For coming from a series
that specializes in mining animation for all comedic potential, the story tends
to lean heavily on somber drama in many areas.
Just the setup of a tyrannical king overtaking the throne after the
death of the original monarchs and Acme Falls suffering from it is not taken
lightly. This is further enhanced by
droning narration that overly explains the political undertones of the takeover
with no trace of comedy whatsoever.
There is at least some creative depiction with the nation taking over Acme
Falls being called Tick-Tockia, a reference to Warner Bros merging with Time
Warner around this time. In addition to
the poverty and hunger that comes with heavy taxes, the film goes an extra mile
with how certain characters are effected by Acme Falls’ hardships.
Of all the characters in the immense cast
though, the ones most effected are the Warners.
It’s not just that they’re portrayed as orphans here, which makes a lot
of sense considering that they only have each other throughout the actual
series. They have to put up with
believable challenges just to get by in a corrupted kingdom, not unlike what
would happen if this was the case in real life.
When poverty becomes so bad, Wakko has to leave to try and make a good
profit to support him and his siblings, a major departure from his antic-driven
nature. The biggest harsh result of the
tyrannical rule over the town though belongs to Dot, who apparently becomes so
ill that she needs an operation. It only
takes a few immensely endearing and emotional moments to support there being
legitimacy to her situation. Making this
aspect really show is how hard Wakko takes things when paying for Dot’s
operation becomes too difficult to manage.
Genuinely lamenting over not making enough money and acting desperate to
save his sister are fitting states of mind for most people. The thing is, it’s not the best thing to
expect from someone firmly established as a comedy-driven character. In fact, the amount of emphasis on drama
makes it too easy to take what goes on seriously. As a general rule of feature-length
storytelling, this is a very appropriate course of action to sustain audience’s
attention for a long time. Then again, a
huge emphasis on comedy is a big thing that makes Animaniacs as great as it is, so to see it downplayed with legit
stakes and repercussions is a tad concerning.
That’s
not to say there’s no strong emphasis on comedy at all, and whenever it does
show up, the film really roars into life and feels right for the series it’s
part of. For one thing, even if the
somber plot is expected to be taken far more seriously than a story from this
show normally is, there’s always some sort of humorous undertone to it.
There’s a lot of painstaking details to how bad
things are in Acme Falls, but the characters could honestly take it harder than
they do. I mean, the situation turns out
to not be bad enough to keep everyone from singing an upbeat song about the
town’s lousiness. The descriptions of the problems are always undercut by a
reminder to never give up hope, and the fun tone of the melody always keeps up.
In fact, the conditions
can apparently be fixed by something as low waged as a ha’penny, the only
affluence Wakko is able to get when out in the world. That too comes with a catchy song of everyone
acting like he’s hit a jackpot of some sort.
Maybe this is all a result of very little levity to the setup, but I personally see appeal in comedy from huge excitement over such small change. On the subject of serious conditions taken
lightly, even Dot’s illness isn’t all that somber despite how much it’s brought
up in the film. All that seems to come
with it is a cough, but other than that, there are several instances where
she’s as active as ever. She’s singing and dancing, and swiftly avoiding
attacks thrown at her and her brothers later on, so you have to wonder how bad her
condition actually is.
However,
the biggest show of comedy comes just after Wakko loses the ha’penny that could
have saved the town and makes that wish on the illusive wishing star. As a bonus, it comes from a solid callback to one of the show's most memorable moments with the droning Pip Pumphandle playing the star's fairy.
It’s
at the point where action really starts picking up as it puts aside the focus
on the admittedly generic plot in favor of the thrill of a chase after the star
so to get the wish first. Said chase
even starts with great style as everyone is drawn to go after the star with
arguably the best musical number in the film set to the incomparable Hungarian
Rhapsody. Not only is this beneficial to
the true comedic and musical roots of Animaniacs,
but also to the many characters in the cast considering what the film mainly
does with them. The sheer variety in the
characters of Animaniacs has been one
of the show’s biggest strengths. In putting them as people meant to populate a
single town though, the audience isn’t able to get a good sense of their appeal
a lot of the time. They’re basically
background characters who stand around, sing the songs as one big chorus, and
only get a few single lines here and there. This is disappointing considering
exactly who appears. The main supporting
cast like Pinky and the Brain, Slappy and Skippy Squirrel, Rita and Runt, Dr.
Scratchansniff, Hello Nurse, and more are a given. Then the cast goes in a broader route with
appearances of memorable one-off characters. There’s Scratchansniff’s girlfriend,the Dover Boys,Prunella Flunderghust, the guy who sang Schnitzelbank,
among others. No matter who appears
though, for the most part, as long as all the film has them just stand around
and sing, they’re really not used to their fullest potential. This is what happens with them at first at
least, as the appearance of the wishing star makes all the difference.
As
the Warners are all set to go after it, word gets out to all of Acme Falls and
the result is one big exciting chase scene that never lets up on energy,
antics, and character moments. The main
trio is fun to watch as usual, but most of the other characters have their
moments too. Pinky and the Brain stand
out a lot with their usual dynamic of Brain’s intellect and Pinky’s
absent-mindedness clashing just as well as they did since Day 1. In fact, they probably show the most intrigue
out of any featured character even before the wishing star is a thing. Interestingly, in addition to Brain’s world
domination plans with the star, there’s a lot of talk of Pinky’s love for Phar Fignewton the horse. That’s only been
the main focus of one past cartoon with only a few short references afterwards,
so to see this unusual romance in full force in a film is welcome.
Of all the characters featured in Acme Falls,
other supporting characters who get significant focus are Rita and Runt to a
pleasant delight. That said, even when
all supporting players get more to do as a result of the star though, they
don’t contribute anything huge. Still,
there’s appeal in their moments together as little scenes of them watching each
other’s backs and interacting showcase why they’re great additions to the
cast. This is especially meaningful when
you realize they haven’t gotten significant focus in a long time. The fact that Rita sings a lot during the
songs gives a strong suggestion that their absence was due to not being able to
get Bernadette Peters as much as before.
Now that the crew’s working on a movie with a bigger budget, they have
the full advantage to use her as much as possible. The characters still might not do much, but
seeing how great a team they can be is enough for me, particularly when you
consider the circumstances.
While
nothing is particularly funny about his role in the film, Dr. Scratchansniff is
at least given his own personal arc for this film about perfecting an elixir to
sell to Acme Falls. It is a random
departure from his typical role in the series, but said elixir does serve as a
good catalyst for much of the gags in the chase scenes. Said scenes also bring in other characters
not part of the Acme Falls setting, but worthy enough to be present in the name
of this being an Animaniacs feature
production. The Goodfeathers, portrayed
as servants to King Salazar and able to talk to humans for a change, break from
their assignments to get respect as their wish on the star. There’s also Mindy
and Buttons getting up to their usual chase routine, and it’s one of their more
enjoyable ones, mainly through how the pain gags are far more merciful to
Buttons.
As for what Mindy goes after
that begins the chase, it’s unfortunately the least substantial characters in
the chase, Slappy and Skippy. If any
characters get a true disservice to who they really are in this film, it’s
these squirrels. In accordance with what
her roles near the end of the series proper have offered, Slappy’s portrayal is
significantly downplayed. There’s no
mention of her knowledge on cartoon violence with the film, instead opting to
mainly highlight her being a typical grumpy old person. She doesn’t even take any overt opportunities
to be her usual edgy self. She sings with the rest of the townspeople instead
of mocking how cheesy it is, and never uses any sort of gags to get her and
Skippy closer to the star. Think of how
better her role would have been if during the race to the star, she was constantly using extreme cartoonish
gags on her old enemies who don’t even appear in the film. In short, not all of the core Animaniacs characters stand out here,
but when they do have something big to do, it’s a real benefit.
As
for the rest of the chase, while some characters stand out more than others,
they’re all at the center of what amounts to one of the biggest spectacles in Animaniacs history. There’s always something exciting happening
at every minute, filled with ingenious little details. Some of them lie within the many ways the
characters travel to the star. There’s a
sled made like a sailboat, a horse drawn carriage, an ox-drawn carriage with a
cannon, an airscrew ship modeled after Leonardo di Vinci, and climbing through
trees all at once. Going from one mode
of transport to another gives the chase a fitting madcap pace for the series
proper’s comedic roots and never gets dull for a second. This is helped by a
collection of individual comedic routines.
In the entire sequence, we have the Warners nonchalantly sailing along
and singing of their travels, Pinky and the Brain in their amusing banter while
running the airscrew, the Mindy and Buttons chase after Slappy and Skippy, Rita
and Runt making the most of their good accommodations in Dr. Scratchansniff’s
carriage, and King Salazar plotting to apprehend the townspeople and execute
the Warners. So much happens, yet it’s
easy to take it all in thanks to how fun the sequence really is.
It isn’t long before the sequence turns out
to be about more than just the core Animaniacs
characters in one big chase. What’s
seen from the start leads up to one particular gag that starts small, but grows
until that wishing star is reached, all set to the classical music piece, Pique Dame by Franz Suppe. It begins with much of the characters crossing a dangling
rope bridge over a chasm which breaks a bit the moment the Warners try crossing
it. Then the rest of the characters
follow as Buttons uses his body to cover the gap while keeping Mindy from falling
which becomes difficult as heavier characters cross over. Once intense moments like the
Goodfeathers colliding with Pinky and the Brain’s airscrew, or King Salazar’s
henchmen, Thaddeus Plotz and Ralph, attack with cannonballs, the fun really starts. At the right time as the music picks up the
tempo, the chase does so too in a variety of ways. Phar Fignewton takes off after the falling
airscrew to save Pinky, serving as the first step of accentuating the
liveliness of the music. Plotz and Ralph
aren’t far behind as their carriage comes with a canon that shoots destructive
blasts at the others. Their firing
reveals what’s been wrong with Dr. Scratchansniff’s elixir. Rita, Runt, and later Buttons inside his
carriage, use the supply to fight back, and it explodes too, meaning that it
was made with nitroglycerin. Then this
scene becomes fully antic driven as Plotz and Ralph reach the Warners. Following Salazar’s morbid orders, they aim
their blasts at the kids with intent to destroy. Backed by well-constructed shocked
expressions to the attacks, a visual highlight is how the Warners’ sled-boat
structurally breaks down to small planks, but the kids keep going. There’s a total lull in the featured music at
this point, but it works in notable ways.
In addition to giving the audience a break after fast-paced action, it
advances the plot somewhat when the chase causes Dr. Scratchansniff’s elixir to
get the right ingredients. It’s a hit with everyone, but is majorly marked by
one of Wakko’s trademark big belches.
That ultimately brings the chase to an exciting end as an avalanche
occurs, and the Warners seamlessly surf on it all the way to the wishing star
to brilliantly animated effect. This
would be a fitting conclusion to such animated excitement, but with more time
in the movie left, they first must deal with King Salazar himself.
On
that note, there’s another comedic highlight of the film. While the chase for the star excels
humorously with extreme gags set to grand sweeping music, this scene features
complete character-driven humor. After
spending the film acting realistically put down by the harsh conditions of
their hometown, the Warners end up embracing their true cartoonish nature when
with Salazar. As with many of their
adversaries in the series proper, he’s nothing more than a glorified tyrant
after power and wealth for the sake of it.
Setting Salazar apart is that he’s actually a legit threat with a very
little layer of humor. He’s already in
power and brought Acme Falls to poverty after all, not to mention the reason
Plotz and Ralph are after taxes in the first place. Nevertheless, the Warners are ready to go
after him with their antics as he finally catches up to everyone and imprisons them
just so he can get his wish instead of them.
It really doesn’t matter how malicious their targets are. They’re ready to fight back with laughs no
matter what.
After they get Salazar to
give them luxurious treatment in exchange for secrets about the wishing star,
there’s a rapid collection of hilarious ways the Warners mess with him. Many of them are clever references to
memorable moments from the original series, though they can easily work as
funny scenes on their own if you’ve never seen said series. They get him to leave the room and lock him
out as they temporarily cheer that they’re in charge like in “The Three-Muska Warners.” When Salazar comes back and
interrogates them with questions, they turn the situation into a game show
which they play dumb at, bringing to mind, “Fair Game.” Being orphans, they insist the king be their
new dad, and with Wakko also referring to him as “dadoo,” there’s a strong
resemblance to “Meatballs or Consequences.”
Salazar fights back by sending them to a cave of nightmares, which in
the Warners case, have a major comedic undertone of their own. Unlike what most would think of with worst
nightmares, keeping true to the Warners’ characters, their nightmares are
beings and setups too eccentric even for them.
There’s a loud comedy routine from Jerry Lewis-inspired Mr. Director,
the vile gas station restroom from “Potty Emergency,” and a run-in with Baloney the Dinosaur. As for original ways the
Warners mess with Salazar, their comedy proves totally fresh when they bring up
several ways the king’s wishes can be taken literally. Owning the world means owning a globe, eternal
youth means reliving his bad 16th year, fame and fortune just gives
him a movie and magazine subscription, ten million bucks refers to deer instead
of money, all the dough in the world refers to pastry dough, the list goes
on. It’s all the genius punchlines only
a top-notch comedy show like this can deliver, and a solid reason for why
characters should think before they wish in stories like this.
Following
this sequence is imprisonment of the Warners. They escape with one more callback where Dot uses her cuteness to have a Dennis
Hopper-like guard let her and her siblings go like in “Hearts of Twilight.”
This serves as a lead-in to how comedy works in one particularly interesting
way. The big thing about it is that the
staging makes the moment seem anything but funny. In one of the film’s few moments that seems
to legitimize Dot’s illness, she seems unable to run towards the star with her
brothers.
Then Salazar’s attacks finally gets her and it
looks like the end. In what seems like
her final moments, the emotional staging really goes all out in the series seemingly
majorly taking a step out of its standard comedic makeup.Sad music swells while just about the entire
cast looks on with grief as Yakko holds his beaten up and ailing sister
close.All Dot wants is to hear the
story about their parents one last time, calling back to an earlier much more
wholesome bedtime story scene.Just
about everything from that story is repeated, but this time with apparent
strain on emotion given the moment.How
Yakko finds himself trembling while telling the story and Dot struggles to help
him along despite her injuries is simply high-talented voice talent.Then Dot slumping over at the phrase ‘call me
Dottie and you die’ is the clincher to make this scene the film’s emotional
highlight.
Now you might wonder how
there can possible work on any sort of comedic level. A notable factor is how investing the death
scene is just from mere mentioned emphasis on Dot’s illness, and the scene’s
aforementioned staging. It ends up
feeling like a diversion for everyone as Wakko ends the whole chase by dashing
to the wishing star and getting to make the wish. At that perfect moment, Dot happily gets up,
revealing that the whole death scene was nothing more than an act and a
complete joke. I can understand
frustration that such legitimate sadness turned out to be completely
meaningless, don’t get me wrong. Personally, I see good comedic value in
dragging the audience in with heavy emotion only to turn it on its head moments
later to say that it didn’t matter. This
type of comedy is one of the staples of Animaniacs
after all. Not only that, but I
especially can’t fault the scene for how it leads to the great satisfaction of
what comes from Wakko’s wish of not one, but two ha’pennies.
This
film being the work to officially close out Animaniacs,
it’s very pleasing that major closure is given to long standing character
motivations that have always defined the series. The many sendoffs they get feel just as
satisfying as they should be, therefore making a great ending to what’s essentially a fairy tale. Of
course, plot threads exclusive to the film end well, in some cases humorously
as you’d expect in a series like this.
Dot’s operation can be paid for and is unsurprisingly a complete
success, but it turns out that all she needed was plastic surgery for a beauty
mark on her cheek so to be even cuter.
In other words, her sickness and cough was never really major and was
used as a setup for this one comedic outcome.
Again, I understand any potential frustration over this plot direction,
but I personally enjoy it fine for feeling right at home with the established Animaniacs atmosphere. Even smaller film-related cases like Dr.
Scratchansniff finally selling his elixir and Wakko getting his sibling
much-needed nourishment with his other ha’penny are pleasantly impactful.
However, the strongest part of the ending is
how it brings on several full-circle endgames tying into not just this film,
but the series as well. Any character
who’s always been after something in their cartoons but never able to get it
finally has things work out. Buttons,
for once, gets Mindy home without any trouble, and his efforts are finally
majorly rewarded like they should have been from the start. As an aside, Mindy finally calls her mother
Mom instead of Lady. Rita and Runt
officially get themselves a home, and given the events of the film and how
principal they were in making his elixir big, I’d say Dr. Scratchansniff is a great owner for them. Hello Nurse’s often
hinted brand of intellect ends up getting noticed as she starts up a company to
widely distribute that elixir. The
Goodfeathers receive some sort of respect, though it’s possible that everyone’s compliments are not really aimed at them. As Pinky lands in a position close to
Phar Fig Newton, Brain even lands in a position of power, as Prime Minister,
though it’s still far off from his ultimate world domination goal.
The Warners, however, are the ones with the
true power as fate reveals that they’re the true rulers of Acme Falls allowing
them to literally boot out Salazar and take over. For how much authority they have over any
adversity just from being funny cartoons, I for one am proud to see these
characters land in this position as all of Animaniacs
ends. There are even a few examples
in the series proper to show that the Warners have, in some ways, always been destinedto rule. While the final official episode of the series was a great sendoff for the show itself, this film turns
out to be a great sendoff for the characters.
After an exciting adventure of fast-paced gags, action, and music, the
conclusion is the perfect way to cap off one of the biggest selling points of
the biggest TV animation marvel.
Whether
or not you’ve seen the show it’s a part of beforehand, Wakko’s Wish is a solidly exciting and engaging animated
feature. In my case, it gave a good idea
of the style of the series, thus enticing me to check it out years later. As
this was one of the most accessible ways to see anything related to Animaniacs at the time, I imagine that
notion being true for most people.
However, if you have seen the series before this film, certain elements
can surely leave a stronger impact with references and character motives being
easier to get. It’s not a perfect
recapture of the series with the story feeling too dramatic for the usual
comedic atmosphere and some characters not being used to their fullest
potential. These factors hold the film
back from being the best of the series, but things still work out. Any
detractor is made up for by great smart comedy that is present, amazing songs
and music, and core characters reaching the best endgames possible. It’s strong enough as a sendoff to the best
of TV animation, and as an animated film by itself, it’s one great feature film
reminding us to just cheer up and never give up hope.
Highly Recommended
This
brings the official end to this overview of Animaniacs
which, for all its ups and downs, will be something I may always view as the
closest thing to animation perfection.
It’s an influential show of how to find great consistent success through
letting a cartoon be a cartoon, and the art of animation explore all
possibilities. Long after you see, or
even talk about the series, its many strengths will forever resonate from its
smart writing, immersive music, and highly diverse cast. In fact, there may never be another series up
to the standards this one has set, though we’ll just see how the upcoming Hulu reboot
of the series goes. Either way, while
the original series has been completely looked into, it will forever stand as a
work that’s truly one of a kind.
So
now, as Yakko would say:
Goodnight everybody!
And
as I always say:
Stay Animated Folks!
Coming up on MC Toon Reviews, look out for recurring reviews of these two series:
