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Aeon and Trevor enjoy their debates and often appear as lovers, but there is clear knowledge that their idealistic differences will never allow them to truly unite with one another. They share the knowledge of human weakness and cruelty, but it takes them to different conclusions on every point. Aeon is his moral opposite, and while he questions whether what he's doing is truly wrong, she's always there to assure him that it absolutely is. Trevor is often the closing narrator of the episodes, and he emphasizes thoughtfulness and reason in his appeals for a fascist state. There are certain elements that can't be contained within descriptions of the story. Dialogue between Aeon and Trevor is nothing short of perfect, and her various doomed missions only emphasize the complicated emotional life of her character. The producer of Liquid Animation himself, Japhet Asher, writes some of the scripts, as do Chung and several others.
Strange, unearthly sci-fi tones mixed in with unexpected changes and occasionally sorrowful passages do nothing but add to the aesthetic of the series.
The soundtrack by Drew Neumann is nothing short of a masterpiece. The character design is immediately striking and iconic, from Trevor's composed attire as head of state to Aeon's visually compelling, futuristic haircut. Creator Peter Chung's animation style is manga-esque, but with a jagged, angular edge that is all his own.
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The technical elements of the series all help to bring in its utterly unique tone.
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The fight to remain free regardless of the cost is the defining backdrop of the show. In "The Purge," Aeon fights against an unrepentant villain who is suddenly given a manmade soul, then fights against being given one herself. The woman chooses to go regardless of this warning and she dies, but it causes Aeon true sadness that she does.
Aeon turns him down, telling him that the creature does not love him and “I'd rather kill her than turn her over to you.” In "Thanatophobia," she tries desperately to prove a woman's lover is unworthy and does not truly love her, then pleads with her not to attempt to flee across the border between the cities, knowing she will die. In "Isthmus Crypticus," Aeon is asked to kidnap a magnificent psychic human/bird hybrid by a man that is convinced he is in love with the creature. That said, questions of free will and autonomy rise up again and again. Focusing an experimental sci-fi mini-epic around a morally complex female protagonist isn't something we see enough of today, let alone in 1991.Įach episode is a unique scenario, not connected to the others except via its central plot and tone. Though steeped in various science fiction tropes, there hasn't been anything very much like it before or since.
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Now better known as a 2005 action movie starring Charlize Theron, it's easy to forget what a huge deal Aeon Flux actually was way back in 1991. Building off what was being done in the same era through underground animation festivals like Spike & Mike's, Liquid Animation was the rare bizarre concept that fiscally paid off, all while inspiring countless animators for years to come.Īmong the cartoons that launched through Liquid Television and went on to enjoy an impactful series of their own is none other than Aeon Flux. Cartoons like Beavis and Butt-Head had their mainstream debut here, and the works of Yoshiaki Kawajiri and John Dilworth gained a larger audience. MTV's Liquid Television was an experimental animated variety show that saw the introduction of a whole new style of adult animation to a wider audience than ever before in the early '90s.
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