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kobetempleton
Reviews
Dexter's Laboratory (1996)
Endearing to this Very Day
Lately I've been watching episodes of Dexter's Laboratory on Netflix. This means I have not recently watched any of the episodes from the 'reboot' of the series, and in fact I haven't seen any of those episodes in a large number of years. Without going on a diatribe about the reboot, I'll just say that I don't really consider those episodes to be in the same TV series as Dexter's Laboratory, and so the following review concerns the show's first (and in my mind, only) two seasons.
Dexter's Laboratory is a surprisingly endearing show. It was always my favourite while growing up as a kid, so I knew I would enjoy myself when I saw the series on Netflix. I was surprised, however, by HOW good these episodes are. They may have been a nostalgic favourite, only I didn't expect for them to hold up quite as well as they do. It's simply amazed me how likable this series is, how easy it's been to grow fond of this universe. I think the likability stems from two big things: first of all the friendly, enjoyable tone, and second of all, characters that I still love today.
There were a lot of other shows that I liked while growing up, especially the other 'Cartoon Cartoon' features. I have to admit, however, that none of them have quite the endearing tone of Dexter's Laboratory. Ed Edd 'n Eddy could get pretty snarky. Powerpuff Girls seemed to enjoy being 'random.' Courage the Cowardly Dog sometimes felt like it was trying to be overly surreal, and even the hilarious first season of Johnny Bravo now feels a little too drenched in that sarcastic Seth MacFarlane humor. I realise that Seth MacFarlane also worked on Dexter's Laboratory; fortunately, though, his style didn't really show for this series. On the contrary, Dexter's Laboratory is free of sarcasm, free of cynicism, and not at all mean-spirited. The tone is one of innocent fun, yet still replete with large does of absurdity.
The show advertises Dexter as a scientific genius, which naturally he is. If you've watched the show at length, however, you know that it's not merely a show about a genius. Dexter is more of a little kid than a scientist, one whose struggles are quite normal for his age. The series therefore deals with a hilarious dichotomy: Dexter's scientific brilliance pitted against his needs as a child. It's remarkable how much you grow to like the character of Dexter, just an innocent kid who, incidentally, harnesses revolutionary technology. One day he might be trying to find his birthday presents, or another day he might just want some ice cream. Whatever he's doing though, it's easy to root for him, and fun to watch him tamper with scientific inventions.
There's just such a sense of friendliness and innocence with everything that Dexter does. One show I really like is Phineas and Ferb, another show with a lot of scientific gadgetry. As much as I like Phineas and Ferb, though, there's almost a strange arrogance to go along with their scientific brilliance. Somewhere deep in that show, perhaps with its creators, I can almost sense a sort of sterile socio-political agenda, some attempt to preach at kids with the suggestion of scientific progress. Dexter's Lab, in my opinion, shows how to get it right. It shows that a scientific boy genius can be friendly and relatable, endearing, human, and much like someone we know in real life. His facial expressions, his voice characterisation, and his hilarious relationships such as with his parents and with DeeDee, all compile to make a lovable entity, someone whose company we might actually want. I think that's the reason it's so easy to watch these episodes, even so many years later: it's a fun character to be with, a fun world to occupy, and a reminder that good-spirited fun is the best fit for animation.
I'm kind of sad that I've gone through most of the episodes already, because I really have enjoyed them. Only they will always be there, and I recommend them for anyone who hasn't seen them. Great series. 10/10
Mother 2: Gîgu no gyakushuu (1994)
Good As It Gets
Typically, anyone who reviews this game has a very positive reaction. Some will say it's simply worth checking out, while others will put it in the Video Game hall of fame. But concerning most of the reviews I've read, the same compliments keep appearing over and over: it's unique, they say, because it takes place in a modern-day universe, unlike the archaic settings of many RPGs. It's unique, they say, because the battle sequences take place from a first-person perspective. It's a great game, they'll say, because of all the weird music and crude humor scattered throughout the storyline. I will not deny any of the above claims; however, they are only the tip of this breathtaking masterpiece, and in my opinion, do not fully represent the ingeniousness that is found in EarthBound. This game is far more than a fun, quirky take on RPGs from the 90s; it is, in my opinion, one of the greatest games ever made, composed beautifully and featuring astounding creativity.
From my perspective, the game's true greatness comes from two main elements. First is the inclusion of excellent characters and monsters within the game. Occasionally, a reviewer will mention how the game features weird and memorable enemies, such as sentient gas pumps and paintings. The beauty of the game's characters, however, comes not only though their bizarreness, but oftentimes, their simplicity. For instance, in one cave, the player will find a simple slug (named the 'Attack Slug') with an uncomplicated graphic design, or in another part of the game, an 'Armored Frog,' these simply being familiar animals with creative adjectives attached to give them some flair. If you're not impressed with the animals, the game suddenly throws robots in your path. The creatively constructed 'Spinning Robo,' for instance, exemplifies the oftentimes futuristic flair found in the cast of enemies, and the well-known image of the 'Starman' (and its various evolutions throughout the game) is perhaps one of the most memorable and creative designs throughout the entire adventure: simple, iconic, deadly, and representative of a creativity that draws from varied spheres of artwork.
The game's second extremely powerful element is the storyline. I will not give away the details, but this story is the most powerful I have yet encountered in a video game. The game is indeed full of humor, but throughout the relatively light-hearted journey, the player encounters numerous doses of seriousness and ominousness, suggesting the fate that awaits the characters. There is plenty of foreshadowing, but not enough to make the end result any kind of a letdown. Essentially, the balance of humor and somberness is flawless; the occasional glimpses into the enemy's master plan are just enough to move the adventure toward its heavy climax. While some games suffer from having a final boss that is an anticlimax, or on the other hand, a boss that drags on for simply too long, EarthBound creates the perfect amount of horror needed for its conclusion, and not only meets the player's expectations, but surpasses them in the most emotional way possible. As I understand, the final battle is the most well-known part of this classic, and due to its highly emotional nature, I am not at all surprised.
In short, EarthBound is probably my favorite video game. It is funny, yet emotional, colorful, yet appropriately replete with philosophy and dark moments, and its conclusion remains, to my mind, one of the greatest climaxes found on any console. Creative, moving, and loads of replay value. I do not think you will be disappointed. 10/10