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Green Lantern: The Animated Series (2011 – 13)

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I suppose I should not be even faintly embarrassed to admit watching animated versions of the superhero stories. I read the comics decades ago when I was a child (and sometimes later). Seeing traditional characters in animated form is a pleasing way of updating and developing old ideas. For, yes, when you only have a few pages in illustrated form to play with, the ideas tend to be superficial when the edition is a stand-alone. Even when the narrative arcs stretch over multiple issues, there’s no real chance to go into the character development and plotting sophistication possible in novel form. This makes the “half-hour” animated format more appealing because seeing the characters interact offers more scope than a static drawing with speech bubbles.

Green Lantern: The Animated Series is a case in point. This comprises two narrative arcs of thirteen episodes which show Hal Jordan and a team come together to meet a variety of different challenges. The structure is a balance between the broader development of character and plot, and the immediate need for an “adventure” subplot for the individual episodes. I’m not going to go through the individual episodes but there are a number of elements that are worthy of comment.

Kilowog

Kilowog

When the first episode kicks off, we have Hal Jordan, Kilowog and an advanced AI to control the systems of the ship called the Interceptor as the core team members. The AI who’s addressed by the name Aya becomes pivotal to the major emotional narrative arc. Although this is a rerun of Pygmalion, it manages to set up and then develop the trope in a particularly pleasing way. The original myth was first committed to paper by Ovid in Metamorphoses. The point of the story is that the inanimate can become animate. In the first version, a statue comes to life. In this animated version, the onboard ship’s computer becomes self-aware and, later, creates a body for herself. Her “mistake” is to base her physical appearance on Razer’s dead wife Ilana. Aya believes this likeness will be more appealing to Razer, not understanding that successful long-term relationships are based on personalities, not on simulated external appearances. This departs from the traditional story in which artists create a representation and then animate it through their love. Obviously a team of individuals would have worked together to code the AI system, but this artifact is essentially intangible. The “person” is brought into being through interaction with the crew and the effect of exposure to the pure Green Lantern energy. Over time, the artificial “person” becomes increasingly “real”. This is drawing on the later idea found in Pinocchio where the wooden puppet becomes a real boy, except Aya retains an artificial body, later plugged into the remnants of the Anti-Monitor.

The second theme is the generality of human emotions, principally of rage, fear and love. It may be simplistic, but the culture of the Red Lanterns and Razer’s slow embrace of a more peaceful outlook on life represents the “teaching” element in the series. Insofar as any series of this type is able to influence the fanbase in its behaviour, the evolution of Razer into a potential Blue Lantern is making a peaceful worldview appear more cool. Similarly, although the imagery is annoyingly clichéd, the discovery of the yellow crystals in episode 8 offers the chance to consider whether fear is a positive or negative emotion. Some people are motivated to act because they are afraid of the consequences of inaction. This can lead to spectacular successes and we acknowledge those individuals as brave. Others are paralysed by fear and hide themselves away in the usually forlorn hope the threat will somehow overlook them. As we move into love, this dual nature of fear comes sharply into focus. People often fail to say what should be said if relationships are to be formed and maintained. Episode 9 therefore plays with the superficial world of sexual attraction, ignoring the reality of the emotions underpinning what happens in the long term when relationships mature.

Razer and Aya

Razer and Aya

It’s amusing to see Hal Jordan confront his replacement on Earth and his alternate when he travels into a steampunk dimension. Jealousy is just another way of addressing the fear that status or reputation has been damaged or lost. When you’re working your way into a role, you build up your self-confidence by telling yourself you’re the best. When you later come back and meet a young man doing exactly the same, it’s difficult not to feel threatened. That’s where humility comes in. The mature leader embraces the newcomers and helps them. Thematically, the steampunk version in Episode 16 plays this perfectly with Steam Lantern being almost excessively humble. It takes Hal Jordan to build up the man’s self-image so the alternate can accept himself a truly heroic. In a sense it also plays with the same idea at a societal level. The culture is doing its best to survive with only limited resources. The one scientific genius has saved the world by doing a deal with the Anti-Monitor, but then has problems in readjusting the scale of his thinking to meet the immediate needs of the people. With the fight appropriately led by a woman in an airship, democracy is restored and the world “saved”.

Steampunk meets superhero

Steampunk meets superhero

The relationships between Hal Jordan and Carol Ferris, and between Razer and Aya are developed in a particularly satisfying way. For the first couple, the problem is physical separation. While Hal was still based on Earth, they could see each other on a regular basis. Once Hal goes off to defend the galaxy, maintaining the relationship becomes more problematic. That makes the episodes featuring Zamaron, the Star Sapphire homeworld, fascinating. For the second couple, this is a “first love” situation for Aya. Neither of them come equipped with the usual emotional tools to make the relationship run smoothly. The tragedy of Aya’s overwriting her memory to erase painful emotions is therefore inevitable given both Razer’s inability to confront the loss of his first wife, and her literal mindedness. The moment in the fight against the Anti-Monitor when, in the heat of battle, Hal gives inadvertent relationship advice is a rerun of “Little Lost Robot” by Isaac Asimov. She loses herself for the greater good. The ultimate sacrifice in Episode 26 is the perfection of the cycle. It’s the only way to save the galaxy. For once, my literal mindedness sees this as amor vincit omnia except, this time around, love saves all except those personally involved.

I’m not going to say this series of twenty-six episodes is one of the best of its type. There are many problems with some of the individual episodes and times when I cringed. But this is a very good attempt at making a galaxy-wide threat scenario work at both a space opera and a personal level. Although the name on the shingle is Green Lantern, i.e. Hal Jordan, I prefer to see this as Aya’s story. She may start off as an AI system piloting a starship, but she ends up a very brave woman.

For a review of the film, see Green Lantern (2011).

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