- Follow @TheAndrewBlog
- Game of Thrones: “Dragonstone” Offers a Brilliant Homecoming
- Game of Thrones: The Beginning of the End in “The Winds of Winter”
- Spider-Man: Homecoming Stands Up for the Little Guy
- Harry Potter and the Magic That Fades – Wonder, Escapism, and Adulthood 20 Years Later
- Better Call Saul: The Winding Road between Jimmy McGill and Saul Goodman in “Lantern”
- real estate agent jobs kansas city on 7 Big Questions About Battlestar Galactica’s Finale
- 食素 on 7 Big Questions About Battlestar Galactica’s Finale
- askno695 on The Simpsons: “Duffless” – Homer’s Temporary Sobriety and How to Show Growth on a Sitcom
- Andrew Bloom on Laughing at Sincerity: The Room, Tommy Wiseau, and The Earnest Failure
- Sam on Laughing at Sincerity: The Room, Tommy Wiseau, and The Earnest Failure
Tag Archives: Computer Animation
Toy Story, the first fully CGI feature film, would still have worked without its groundbreaking, digitally-rendered aesthetic. The film’s visuals were certainly eye-popping in 1995, and Pixar’s decision to feature toys as the main characters was partly motivated by an aim to mask the limitations of computer animation at the time. But at its core, Toy Story is a universal tale about jealousy and acceptance than transcends the particular style employed by its creators. It could have been a traditionally animated film or a comic book or even a puppet show, and while some of its elements would certainly have been lost or changed in translation, the heart of the film would still work just as effectively.
ReBoot, on the other hand, the first fully CGI television show (which, incidentally, predates Toy Story by about a year), may very well be inextricable from the medium in which it was expressed. The show’s premise is inherently tied to technology. Set in Mainframe, an electronic metropolis that represents the inner workings of a computer, the world of ReBoot is replete with a series of anthropomorphic “sprites”, “binomes”, and “viruses” who deal with reality-altering games input by a mysterious “User”, unruly visitors from “The Supercomputer”, and vague whispers about “The Web.”
As with Toy Story, the artificiality of ReBoot’s setting helped the show to overcome the fact that full photorealism was beyond the reach of computer animation in the early 90s. But that same digital aesthetic also proved to be the perfect medium for depicting this sort of world, to the point that it’s hard to imagine the series working apart from the computer-generated imagery that made the show stand out among its Saturday morning brethren. That’s why I’m more than a little leery of the upcoming, inevitable reimagining of the series. Part of what made ReBoot so inseparable from its computer-animated style is the fact that the show was not merely closely connected to technology; it was closely connected to a conception of technology as it existed in 1994.