Friday, August 27, 2021

Why Charlie Brown Why - 'Toon Reviews Shorty

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Media can be a good tool to help escape the hardships of reality and get a feel of the good things that make life worth living.  However, there are some instances where world events are near impossible to ignore as they're felt by everyone, no matter who they are.  Such is the case last year with the whole world practically brought to its knees with the COVID-19 pandemic.  While most people were left to deal with the loss of usual privileges, and stay at home except for essential business, that was nothing compared to those enduring the actual virus.  Through its constant spreading to anywhere and everywhere, the spiking rates, and many deaths, it goes without saying that this was, and technically still is, a huge deal.  Because of this virus’ omnipotent presence, everyone, if they’re considerate enough, is mostly inclined to feel the serious effects of the current situation.  It is good to know that vaccines are available now and are doing their part to turn the pandemic around for those who get them, but a historic event like this will never going to be forgotten.

As for animated entertainment, when looking at the pandemic, a fitting thing to watch would be something to explore what it’s like to go through something as deadly as a virus.  Film and animation, after all, is a unique art form that allows for emotional connection in endless visual possibilities.  I’m personally fortunate enough to know of the perfect animated work to watch in this case.  With the novelty of COVID, the featured virus clearly isn’t that, but the idea is still the same.  It’s a work that covers a life-threatening disease, showcases how its victim’s life is harshly effected, and even features how outsiders handle the situation.  In addition, it’s also the blog’s first Peanuts special review since the 2019 holiday season, and it asks:


Why, Charlie Brown, Why?

(March 16, 1990)

It’s true that the Peanuts specials are kind of somber in nature with the majority of them highlighting how difficult and unfair the world can be.  Having the cast consist of kids actually compliments this direction by showing how anyone going through life’s challenges can feel, no matter how old they are.  While most of the challenges in these specials come from living amongst harsh peers or lack of success in certain areas, the main challenge here goes beyond that.  It’s an occurrence legitimately unprecedented to any kind of person including the youth, hitting much harder than average.  Just like how COVID has stopped modern life dead, we’re talking about a disease that’s known to take a toll on pretty much everyone.  It’s not just the disease’s victim, but everyone hearing about it as well.  This is the very prevalent medical condition of cancer, and its effects are probably best felt living through it or witnessing it.  In the case of this special, according to research, it was originally thought that cancer could be felt through just a short educational video.  However, since Charles Schulz had huge memories of his mother fighting and eventually succumbing to cancer, he felt that the subject could be handled better with a full special.  This direction would prove to be a huge benefit, making for one of the most emotionally-gripping works the Peanuts franchise has offered.

Considering how hard things like cancer can hit emotionally, the special goes down a route of not having any of the established Peanuts characters go through it.  Instead, they create an entirely new character to endure the disease and by extension allow the audience to follow through all its steps.  Her name is Janice, and though she exists exclusively to this special, she has good appeal.  Personality-wise, there’s not much to her beyond being generally nice and enjoying rides on the playground swings, but being generally nice is enough to invest the audience.  That’s not even mentioning some honestly adorable chemistry with Linus.  In fact, just their simple interactions at the beginning is all that’s needed to build major sympathy that follows for the rest of the special.  There’s sudden focus on peculiar ailments Janice seems to be picking up from bruises that don’t seem to heal after weeks to high temperatures that drive her to get sent home from school.  Apart from maybe the bruises, these don’t seem terribly alarming and could be seen as a standard cold.  Then more signs of something much more serious arise shortly after like Janice being absent from school for a long time, and eventually landing in the hospital.  That’s when it becomes clear that the disease is not anything standard and is a much bigger deal than usual.  From this perception, it hits close to home in a way with how the current pandemic escalated.  At this point, a fitting course of action would be to further investigate the matter, and that’s what the special goes on to do, on many fronts in fact.

When Charlie Brown and Linus visit Janice in the hospital, they get all the necessary details to really understand her condition.  The thing that’s made her so sick is cancer, more specifically a strong form of it known as leukemia.  In Janice explaining the details of leukemia, there’s a noticeable shift in focus from telling a story to being intentionally educational and topical.  The explanations of the treatment she’s been given, how it can be known for sure that she even has cancer, and side effects like hair loss feel straight out of a school lecture.  It’s not that there’s anything too wrong with that; it just isn’t as interesting in terms of animated works.  A direction such as this gives the feel that it’s here to get a class of kids ready for a quiz on this particular subject.  As a matter of fact, I wouldn’t be surprised if this was all the special would have consisted of if it stayed an educational short. 

Benefitting everything though is that the blatantly educational direction merely gives a background to the true power of the special.  While talks of Janice’s condition and treatment aren’t the most interesting approach for a special, it does connect to something truly compelling; the emotional effects it has on everyone.  When considering the victim of leukemia, Janice mostly seems like a stand-in to teach the audience all about it.  Still, she come out as an inspiring cancer patient where despite all that she has to go through, she’s determined to beat the disease and get back to her life.  That’s a rarely seen attitude coming from people in her condition whether they’re real or not, and is especially good for any kid faced with bad diseases.  

However, the real emotional effects are felt through the world around Janice hearing about her leukemia, particularly the one who’s been closest to her, Linus.  In great Peanuts fashion, the littlest moments of life leave the heaviest of impacts, and kids enduring them all hits harder than otherwise.  Linus may not have to endure what’s happening with Janice, but the sound of everything is enough to significantly depress him.  This is even more of the case when you consider how long the leukemia even lasts.  I mean, it started in the fall, and as we eventually get to the winter/Christmas season, Janice is still feeling the effects of her chemotherapy and getting treatments.  It really shows how hard it can be when something so strange and life-altering affects someone you care about. 

If that’s not enough, Linus is also faced with how other people react to Janice’s condition out of lack of knowledge or consideration.  Like in most Peanuts specials, you can probably guess that this includes Lucy showing attitude issues over what her brother tries to explain.  To broaden the effects of the disease for this special though, outside world reactions go beyond that.  One scene shows Janice’s siblings be annoyed with how much attention and presents she’s gotten, how they’re feeling left out, and how they have to be really careful around her.  It only takes a conversation to get them to see that this is all for people to show how much they care for Janice.  That said, I think this can relate to how some people feel about COVID’s mask, social distancing, and now vaccine mandates.  

The biggest instance of outsider ignorance of the disease occurs just as Janice is well enough to come back albeit still enduring the effects.  She has to wear a cap due to the chemotherapy making all her hair completely fall out.  Then a random bully at school makes fun of the cap, flicks it off, and then inconsiderately taunts Janice for her baldness.  It’s bad enough that Janice is faced with this, but the more affected person is Linus.  It’s like the pent-up frustration of the situation explodes within him, and the only way to deal with it is to aggressively tell off the bully about what Janice is going through.  That’s a heavy-hitting reaction certainly not expected from such a usually good-manner kid.  However, it’s an appropriate example of how unforeseen bad circumstances can often bring out the dark side of people or push them over a proverbial edge.

Clearly, this is easily a true heavy-hitting Peanuts special, but to keep the emotional effects from overwhelming and be better appreciated, there are also a few moments of levity.  As is usually the case in Peanuts, it’s mostly felt through the antics of Snoopy like going to school, exploring the hospital, or hanging with Woodstock’s flock.  They’re as amusing as anything with this famous beagle usually is, but in a special like this, they’re not always placed as well as they could be.  There is good benefit to them such as breaking up the heavier emotions to give a wider variety of feels like a good story should.  They’re also placed well to showcase the passage of time like starting out sequences that take place in fall, winter, and spring, as well as establish settings like the hospital.  However, they can feel awkward when placed during those sequences and not just introducing them.  Sometimes you can see something amusing like Snoopy giving a light-hearted interpretation of a hospital worker and then cut to Linus lamenting about Janice’s leukemia.  Other times, they’re completely unrelated to the subject at hand like when he’s setting up Christmas decorations before going back to seeing the effects of the leukemia.  Really all the antics are unrelated, but if they just introduce different points in time, they’d probably be more effective and have more of a purpose.  The same can be said for Sally’s long-winded rants about her disdain for school which, while funny, aren’t the best fit for this kind of emotional subject.  Levity is not executed perfectly for this special, but I guess it wouldn’t be Peanuts without it.

Going back to the subject of leukemia, considering its magnitude and how it’s like other life-crippling diseases, some might wonder how all this ends.  As it turns out, for a franchise that’s built on learning to cope with failure and unfairness, even Peanuts isn’t too morbid to showcase the worst effects of such a condition.  The special ends with a true sign of life renewal, fittingly unfolding as spring finally comes.  The weather’s good, the swings are up, and Janice is able to come back to school, her leukemia no longer the prominent issue it was months before.  To make it clearer, as Janice rides the swings once more, here hair is revealed to grow back, and the moment is staged like a huge moment of triumph.  Considering how heavy much of the special has been, especially for the featured characters, this is a very fitting conclusion on an emotional level.  As for the serious topic defining the story, I’d understand if some would look at this ending as too optimistic.  I’m sure a lot of us know that a good number of people don’t get out of leukemia alive, and the ending may not seem to reflect that.  I personally am fine with how it ends since recovering from leukemia is still very possible, and endings like this can give reasonable hope for that.  This is one other thing that can be applied to the modern pandemic, for in the midst of how it’s greatly reshaped daily life, there are ways to turn things around.  Because of those precautions and the rise of vaccines, the world is now starting to open up again, and life is beginning anew.  When you put things that way, an appropriate thing to see is a story of a similar life-crippling condition whose ending is a similar case.

The works of Peanuts are some of the most enduring in animation, and they prove to do a worthy job of tackling serious subjects with “Why, Charlie Brown, Why?”.  Its education may be on the nose at times and the humor might not always be well-balanced, but what it gets right is much more impactful.  It perfectly shows how being put through something huge and unprecedented can have an effect on all kinds of people, ending with a healthy dose of hope.  It also helps that it can somewhat relate well to modern times depending on one’s point of view.  So, if you’re looking for a relatable somewhat topical work of animation starring a familiar cast, this is a worthy contender.

Recommended


 

Stay Animated Folks!

Friday, August 6, 2021

The Stone Forest - (Hilda Season 2 Episode 13) - 'Toon Reviews 46

If you like this review and want to stay updated for what else I have in store, become a follower of this blog, click here to like the official Facebook page, and click here to follow me on TwitterNow on with today's review:
The Stone Forest

In the previous season, to me at least, the finale was pretty underwhelming compared to many exciting adventures that came before it.  It was still good, but it didn’t have much to be seen as a grand finish, which is disappointing when you think of the general nature of most season finales.  For Season 2, this perception thankfully doesn’t apply.  Several things make it a very worthy close by reaching culminations of long going plot threads, raising stakes for the entire runtime, and even doubling the usual episode length.  This in turn makes for one of the most memorable experiences of the series.

The whole adventure fittingly starts out innocent with Hilda hanging out with her friends and enjoying the simpler things in life.  Though in her case, that would consist of things like helping a friend practice witch spells.  Even a brief adventure outside the Trolberg wall into the wilderness is the simple leisurely norm for her.  It’s after here when one of the reoccurring plots of the season reaches a boiling point when Hilda makes a quick stop at home before going back to help Frida with her witch training. 

As Johanna is still unaware of exactly what Hilda is up to, she wants her daughter to stay home and spend the night with her.  This leads to an intense disagreement, including some particularly unkind words from Hilda on how her mother is clamoring for attention for not having anyone to talk to.  As much as I love Hilda as a character, this is very uncalled for after everything she’s learned.  If the near-sacrifices from previous episodes were actual sacrifices, her feelings would be more understandable, but for the most part, it just feels nasty.  Then again, tensions have still been rising between her and Johanna throughout the season, so something like this still kind of makes sense to happen.

Then after making a foreboding hypothetical wish about being a free troll, Hilda gets an idea to get to Frida’s by convincing Tontu the nisse to take her there through nowhere space.  In her attempts, she’s caught by Johanna who tries to grab her to stop her.  Because Hilda is caught between reality and nowhere space for too long, she and everyone clinging to her are thrown in wayward spots.  While Tontu ends up in an unknown region of the world, Hilda, Johanna, and Twig end up in a mysterious forest where it’s always dark, everything’s unfamiliar, and trolls are everywhere.  It certainly doesn’t help that they’re cut off from the rest of society, so they can’t call for help.  This entire season has shown clear efforts in raising the stakes for the adventures, but circumstances like this easily put them at their highest.  It especially shows with the overall direction the episode takes.  

Hilda and Johanna are now stuck with each other for a long period of time in a place they have no idea how to escape.  They just wander aimlessly, unsure of how to navigate their new surroundings or how to overcome certain obstacles.  It’s particularly difficult for Hilda who longs to be independent when it comes to adventures, now needing to follow her mother’s supervision.  Not helping is her lack of faith in her knowing what to do from getting across ridges to finding water good enough to drink.  Plus, the frequent presence of trolls makes for several dangers that are already implied from how Trolberg fears them, and bad press on them from Erik Ahlberg.  This episode even emphasizes the paranoia over trolls with the presence of troll fires all over a mountainside.  However, during their trek through their mysterious location, Hilda and Johanna find that the fires aren’t dangerous at all.  They’re just the trolls setting up sites at the one time they’re active, showcasing how misunderstood these creatures are.  Having discovered this from stowing away in a troll’s wagon, this is also where they find out exactly where they are with Trolberg just a walking distance away.  As for where they were, it turns out to be a forest made of stone located inside of the mountain.  This could mean that everyone can get home safety, but the adventure doesn’t let up just yet as Twig is left behind on the wagon, and Johanna insists she go get him alone.

While waiting for her mother, it’s here where Hilda gets an understanding of where her recent feelings have been coming from.  She was told to stay put, but Johanna is gone within the very mountain they were so close to finally escaping for too long.  So, Hilda is prompted to go after her mother anyway out of intense worry, not unlike how Johanna not knowing where Hilda’s been has caused her to worry.  With feelings on matters starting to become mutual, even more big defining moments for the episode start taking form.  There’s an intense sequence where Johanna and Twig try to escape a troll’s horde quietly without being noticed while Hilda tries breaking a lock below the horde to reach them.  After being so quiet, things slowly intensify as the troll notices Johanna and Twig followed by Hilda finally breaking the lock which causes a huge spill of garbage.  

There are also instances of reassurance when they’re all found by an actually hospitable troll who even has a kid.  They give them good food and shelter for the night, as well as a possible way out.  This in turn brings solid proof of these creatures really being much better than what the public seems to think.  At the same time, the threats of some trolls persists, as an encounter with nasty ones causes the group to lose their guide to escape.  Such an act is enough to move Johanna to hysterics, with one of her worries sounding like they’ll never get home, prompting Hilda to be the mature one to comfort her.  It’s really rewarding because Hilda now has an understanding of why her mother’s been so worried for her lately, and how painful it can be.  As for these legit concerns, there’s one thing this episode to bring good reassurance in the face of this hopelessness.

One big thing about Hilda’s adventures is that she’s made a lot of friends all throughout.  For that, it’s easy to suggest that whenever she’s in trouble, she has people to count on to help her out.  So while she and her mother are stuck in the stone forest, there are scenes featuring many of her friends doing what they can to track her down and come to the rescue.  It starts with Frida and David noticing she hasn’t come back with the last piece for Frida’s witch spell.  When too much time has passed, they investigate her home, find that her sudden disappearance is more serious than they thought, and stop at nothing to look for her.  Along the way, they’re spotted by Erik Ahlberg and Deputy Gerda, who in turn add to the situation with interesting layers to their dynamic.  

Erik reaches his peak when it comes to egotism, wanting to help Frida and David to boost his status as head of safety patrol, and clearly having no idea how to manage trolls.  He even sprains Frida’s ankle rather carelessly at one point, showing no real consent or care.  Being such a blowhard, it’s a fitting circumstance that a spell from Frida turns him into a literal bug for most of the episode, even if it is accidental.  Gerda, on the other hand, starts coming into her own.  Unlike her boss, she actually cares for the kids’ safety and does a fair job of looking out for them and nurturing them while they’re in the wilderness.  After all, she always has been the more responsible one.  I wouldn’t be surprised if she eventually becomes the new head of safety patrol should Erik ever get fired.  

As for more of Hilda’s friends, Alfur gets in on the action too.  He mostly spends the episode watching if anyone returns, but as soon as he hears of Hilda and Johanna’s whereabouts, he’s very resourceful in getting to them.  Knowing where to borrow a pigeon to get to the mountainside, he tracks down the rest of Hilda’s friends to lead them to the place as well.  This in turn brings all the series players together as the episode conflict is resolved. Alfur creates a way out of the mountain, Hilda and Johanna manage to escape to a balloon their friends have commandeered, Erik is turned back to normal while also starting to lose his reputation, and Hilda seems to finally learn the importance of not keeping things from her mother.  It’s all a fitting way to close out everything this season has built up.

And yet, the episode still doesn’t let up with raising its stakes.  The last moments of the episode suggest great security and peace.  The final scene, though, is anything but.  Hilda had just decided to take a break from adventures for a long time after this current really big one.  Then when Johanna comes into her room to check on her the next morning, instead of Hilda, only that troll child is present in her place, leaving Johanna horrified.  As for Hilda herself, she’s surprised to find herself back in the stone forest, and not only that, she’s turned into a troll herself!  To add to that, the episode, and by extension the season, just ends there.  All this does is leave the audience with so many questions on how this could have happened and why.  The best bet is an earlier scene of that one kind troll looking over figures of Hilda and the child troll like it wished it could stay.  The thing is, trolls can’t talk, so it’s hard to make out what they want.  In any case, now Hilda is in her most dangerous and stressful situation yet, and its effects on the world around her are known as well.  How will her friends, who just helped her out of a major disappearance, react to this?  What will become of her life should Erik ever find her and face her with his incompetence on the subject of trolls?  Will things be difficult for her since going out in the sun will turn her inert?  All of these elements build anticipation for the next time we see these characters, and given the really long wait for Season 2, the anxiousness should last for quite some time.

This is certainly one of the biggest episodes of the series yet, and not just from the runtime.  Conflicts both personal and physical are at their most striking, the dangers of adventures are fully realized, and the audience is easily left with a lot to look forward to.  It’s a standout as an episode, and more importantly, it’s striking as a season finale.

A+

Series Ranking

1.      The Deerfox

2.      The Stone Forest

3.      The House in the Woods

4.      The Nightmare Spirit

5.      The Tide Mice

6.      The Old Bells of Trolberg

7.      The Fifty Year Night

8.      The Witch

9.      The Bird Parade

10.  The Yule Lads

11.  The Midnight Giant

12.  The Beast of Cauldron Island

13.  The Eternal Warriors

14.  The Windmill

15.  The Troll Circle

16.  The Hidden People

17.  The Storm

18.  The Draugen

19.  The Jorts Incident

20.  The Black Hound

21.  The Troll Rock

22.  The Lost Clan

23.  The Sparrow Scouts

24.  The Replacement

25.  The Nisse

26.  The Ghost


Final Thoughts

Given how well the series started out, chances were always good that another season of Hilda would be just as great.  With this second season now fully covered, it’s safe to say that the wait of more than two years has really paid off.  Not only does the series retain its high quality; it also takes the series to new heights, effectively upping the stakes and creativity all the way.

Despite how long it’s been since the world’s introduction to this series, everything the new season offers makes it seem like it never left.  It may not be surprising, but it’s still impressive how well it recaptures its unique tone of being laid-back and innocent, but also intense and adventurous.  The characters are all familiar personality-wise, imagination is present in whatever they get up to, and there’s just a pleasing atmosphere to highlight everything.  On the subject of familiarity, it’s felt in how often the show revisits past fantasy creatures, elements, and characters.  Standing out is how many of them only played minor roles before, but get way more development than one could imagine here. It’s somewhat of a given that trolls get far more attention here since they’ve been the most prominent creature, but much more storytelling potential is tapped with them.  There’s emphasis on how they’re majorly misunderstood by the populace, especially with negative propaganda built around them.  This in turn points out how hard it is for them to get by, and make them feel sympathetic when they’re mistreated with constant ringing of bells.  All of this especially comes to a head in the season finale that explores a more innocent and family oriented side of trolls, selling the idea that different creatures deserve better.  As for other familiar creatures, the new information on them does a lot of good for the show and its world too.  There are looks at the lifestyles of its unique depiction of ghosts; the memorable tide mice get a fun follow-up episode; the lost clan of elves help a lot in several adventures; and similar to the trolls, other creatures like the lindworm also fall victim to the negative propaganda. 

Then there are broader examples of expansion on lore elements that lead to new interesting details to take in.  There’s a whole episode explaining where Twig the deerfox came from, how rare his species is, and how much he’s come to view Hilda as a worthy companion.  It’s all shown in a beautiful atmospheric spectacle to the point that it’s the standout work not just of the season, but maybe even the series.  Other elements offer deep insights you wouldn’t think to see.  A total background character is the centerpiece of an adventure with a fresh take on time travel that also gives Hilda a very good lesson for her to benefit from.  Despite coming off as convoluted and too detail-oriented, it’s also fresh to see more of how Alfur’s role as an elf works and how his reports are perceived.  Perhaps the biggest lore development here goes to the subject of witches.  Starting in the previous season with subtle hints alluding to a mysterious librarian being a witch, this is something that comes into form here and is taken good advantage of.  In addition to official confirmation that the librarian, Kaisa, is in fact a witch, she’s also part of a secret group of witches who in turn agree to teach Frida their magical ways.  What’s more, even though the witches are the focus of only two episodes, everything Frida learns as a witch plays a big role in several adventures.  This kind of character growth is the ideal way to bring genuine meaning to what a season introduces.  Not to mention it’s a bold move to have someone other than the main protagonist get this kind of development.  As you can tell from the atmosphere of Season 2, it does a world of good in reintroducing the old, while also introducing new sides to them, keeping everything fresh and exciting.

While you can never go wrong with new adventures and new developments of familiar characters and creatures, one thing guarantees good growth in a new season.  That would be the reoccurring themes felt throughout the season, and those in Season 2 make the series broader in scope in notable ways.  One is the more expected way of highlighting the increase in dangers of the things Hilda gets up to.  Some could say they’ve been dangerous already, but through looking at exactly what goes on, how close Hilda gets to destruction feels greater than the first time around.  She’s nearly lost at sea on a ghost ship; her innocent mistakes with magic almost get her thrown into a never-ending void; a cliff out in the wilderness leaves her at the mercy of dangers that manage to frighten even her including one in a flashback to her youth; time travel causes her to watch herself and her neighbors get eaten by a monstrous worm to undo the old timeline; and the last episode features herself and her family trapped in a mountain full of trolls with no one around to know where they are.  That’s not even counting truly morbid adventures like when David joins a band of warriors who fight each other for fun right down to murdering each other.  He himself even gets his head cut off.  It’s fine though since means of magic bring them back to life when all is done. 

Enhancing the increasing danger of these adventures is something more political relating to the aforementioned propaganda against this world’s creatures.  Throughout the season, Hilda has encounters with the head of safety patrol, Erik Ahlburg.  At first he seems trusting enough as well as very charismatic, but that impression is brought down very quickly.  Erik is the kind of figure who gets his high status through dishonestly creating problems to solve and pinning all blame on creatures like trolls all to make himself look heroic.  I’m not into politics in the least, but such dishonesty feels very in line with most figures in that field.  It’s especially felt as much of the cast grows to distrust him.  Of course, having actual knowledge on the wilderness, Hilda is quick to point out the phoniness in Erik’s ways.  As his vanity stunts continue, her allies see the faults in how he goes about his safety duties, and show no hesitation in helping her in elaborate stunts to intercept his tactics.  Even his own deputy takes issue with Erik putting more care to his ego and stature than actually maintaining safety, a welcome change from what’s expected of lackeys.  By the season’s end, it’s refreshing that just as the audience better understands fantasy creatures, Erik’s reputation seems to start getting a much-warranted hit.  In any case, Season 2’s adventures really impress in how they up the stakes not just in the dangers of the adventures themselves, but also through how others can influence them.

Risen stakes and more imminent threats of death may seem like they’re all that’s needed to show a growth in backbone to this series.  However, there’s one element to Season 2 that also does a lot to make things hit harder than usual.  Unlike most of the adventures though, this one is a more personal reason, relating to certain relationships, maybe even the closest relationships most people tend to have.  As the adventures build in intensity and as Hilda gets older, it may not seem surprising that this season has her become more distant from her mother Johanna.  It’s a stark contrast to how loving and close their relationship was shown to be in the first season.  As early as the first episode though, strains in that bond start appearing with the onset of what becomes a frequent issue between them.  Whenever Hilda comes back from or goes off to an adventure, she straight-up makes up a lie about where she’s really going, and that’s one of the most dangerous lies to tell.  This in turn causes a lack of trust with Johanna constantly suspicious about where her daughter has really been.  After a while as well as a single warning that the lies will catch up to Hilda, the ultimate strain is felt as Johanna finds out she’s been lied to, and Hilda gets grounded as a result.  The punishment itself even feels big and powerful to really make its impact felt.  It’s a blow to Hilda’s adventurous spirit, is easily identifiable to any kid who’s faced such a punishment, and demonstrates a wedge between a formerly close mother and daughter.  Now when it comes to Hilda’s lies, they can seem confusing for why she’s gone this far.  Her mother has constantly supported her adventures and clearly trusts her enough to do them, so there should be no reason to lie.  Then again there is talk about how Hilda doesn’t want Johanna to worry which is somewhat reasonable. She just doesn’t seem to get that her not knowing where she is causes worry too.  For all of this background, it’s fitting that the final episode puts them on a foreboding adventure in nowhere that gets them to better understand each other.  In addition to smaller moments of heart here and there, it’s a refreshing side to the family drama to give the audience a reason to care.  In fact, it’s practically rewarding to see Hilda and Johanna end the season on such good terms, coming together in a believable way.  The overall adventures may exercise creativity and atmosphere, but what’s done within the show’s main family is just as impactful as well as highly relatable.

There’s also something to be said about the payoff to this entire season.  After so many high quality, heavy-hitting stories, and relatable challenges both internal and external, you’d think the season would end with everything peacefully resolved.  It does seem that way at first, but then there’s one total shock to the whole affair.  In the last minute, it’s revealed that Hilda has been magically forced to swap places with a troll child which in turn causes her to become a troll herself.  That’s literally how the whole of Season 2 ends, and the audience is left waiting for future installments to see where things will go.  When you think about it, this is an ending to bring together all the principle elements of the series.  Obviously, this is a very creative twist, but with Hilda separated from her loved ones as a result, it’s sure to leave a more shocking and emotional impression.  There’s also the matter of how much of a mess her mother is in when she finds a troll in her place, and her friends who just worked so hard to find her should be worried too.  Lore-wise, this move does tie into the short instance of bonding between that one troll family who actually helped Hilda and Johanna, so there could be some heart in these actions.  As you can tell, Season 2 has been intriguing on its own, but how it ends leaves a lot to look forward to, probably in the most blatant way possible.  Anyone watching is sure to be desperate to see the closure to all of this.  There has been word of the series continuing with a movie, but as of this post, a release date has yet to be announced, but with how Season 2 ended, it’s got all the buildup it needs.  Above all, it’s a big example of how the season has succeeded in stepping up its game.

The wait was certainly worth it for Hilda Season 2.  It does what all future seasons should do by taking its strengths and building upon them greatly.  The results expand upon memorable past moments, open up new ideas, make the characters more identifiable, and build anticipation for what’s to come.  You may end the season feeling a little too anxious for more, but in the grand scheme of things, this is just the life of an adventurer.

Highly Recommended

Next up on the review agenda is a special Peanuts special review followed by the start of a brand new review set on another season of Cartoon Network's Ed Edd n Eddy.  But first, this blog is going to take a three-week break from posts.  Until then:



 

Stay Animated Folks!