The sexy Squidwards of the ‘90s, anyone unreasonably gorgeous ends up as the butt of some tar-black gag. The character design is very Fifth Element drawn by Egon Schiele: most people are emaciated and bedazzled with extra ribs and weaponized cheekbones, committing physically dubious crimes in costumes that might as well have been designed by Gaultier. The ‘90s knew this and combined the two with smart, critical eye candy like Transmetroplitan and Aeon Flux.Įverything and everyone in Aeon Flux is incredibly fun to look at. They require loud plots and ethical conundrums, whereas the Harajuku trashfires of Chappie, Sucker Punch, and MCR’s entire Fabulous Killjoys era can exist solely as stupid fun. Sterile futures decorated with IKEA knock-offs bore us. Or the entire genre of cyberpunk, an aesthetic we find so seductive we try to replicate it as much IRL as we do on Hollywood sets. Just look at the Mad Max franchise, with its high-octane opulence stolen from street racing culture and glam rock. THE ARTĪeon Flux should be used as proof to Hollywood executives that we prefer our future in drag. 25 years after its debut, Aeon Flux has held up remarkably well - remaining relevant in 2016 through its progressive depiction of sex and gender, dystopian satire, and mesmerizing art. Of course, it would never be that simple, with episodes turning into thought experiments that involved recreational amnesia, artificial consciences, a Gnostic deity, and lots of surreal, futuristic sex. Every episode revolved, more or less, around Aeon trying to screw with the efforts of her lover-nemesis Trevor Goodchild to govern his city-state of Bregna. The first thing anyone saw her do was catch a fly with her eyelashes, an opening so iconic it would be immortalized many more times - on the show’s DVD cover, in the awful Hollywood adaptation starring Charlize Theron, and on the skins of many devoted fans. The result: an erotic avant-garde sci-fi cartoon about the titular sultry anarchist spy with a penchant for dominatrix outfits and dying repeatedly locked in an eternal game of wits and will with her dictator lover.Īeon Flux made her appearance on MTV’s experimental animation showcase Liquid Television. He wanted an animation that could have the same “formal complexity” as works by Borges and Nabokov. In 1991, after an epiphany about the artistic restrictions that come with working on a kids’ show about uncanny babies, animator Peter Chung created Aeon Flux.
One of the trippiest, most philosophical, and kinkiest adult cartoons ever was made by a guy who co-designed Rugrats.
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