Well I never saw this coming- its strange in this Information Age when something just drops suddenly (in this case, on Netflix) as if from nowhere, and it just amazes. Love, Death & Robots is a sci-fi anthology series of eighteen animated shorts ranging from just six to seventeen minutes in length, with a list of producers that includes David Fincher (Seven, Fight Club etc) and Tim Miller (Deadpool) and some of the very best animation studios from all around the world. As its an anthology show each episode is seperate so they can be watched in any order, which is an approach I’ve taken. I’ve watched three episodes and while the stories may not be groundbreaking, the visuals truly are- this stuff is jaw dropping, frankly, especially in 4K and Dolby Vision, which helps those visuals leap from the screen. So anyway, here’s my take on this first three-
“Beyond the Aquila Rift”: I started with this one because the synopsis -a space crew wakes up from cryo-sleep to find they’ve gone way, way off course, seemed intriguing and the art style from the image alongside the synopsis looked like pretty sophisticated photo-realistic CG. Well, that image didn’t lie- this looks pretty phenomenal and features the first graphic CG-animated sex scene that I think I’ve ever seen. The sex, it seems, is a common theme that runs throughout the Love, Sex & Robots anthology – this is clearly some kind of love-letter to the 1970s Metal Hurlant magazine (and later Heavy Metal), the series as visually opulent as the artwork featured in that magazine in its prime. I watched this thinking back to that Final Fantasy: The Spirits Within movie (which I always had a soft spot for). It was a reminder that that last years Amiga 500 is this years ZX Spectrum, because time marches on and so does CG animation. We’re still in Uncanny Valley territory but its really impressive and the design work leaves it looking like a Mass Effect movie (no bad thing that, and I suspect there is going to be a videogame-visuals trend in some of this series). As for that story, well, its based on a sci-fi short and while its twist hardly startles, I did appreciate some of the touches in the direction and visuals- indeed, at the end the big reveal is gently teased through use of light and shadow in a very clever way, the lighting catching parts of a character’s form to suggest one thing before the horror unfolds as it moves further into the light. This episode is one of the longer ones, and while it pushes the limits of its story, its short enough not to out-stay its welcome, thankfully minus any padding- likely due to the cost per second of all that rendering time, which may benefit the series as a whole. Anyway, having dabbled, I was hooked. Seems Love, Death & Robots may dominate my weekend- I followed this episode with…
“Three Robots” : Based on a short story by John Scalzi, it features our three titular robots enjoying a tour through a post-apocalyptic landscape, apparently on a holiday checking out the sights of what humanity left behind. Visually it’s in a similar photo-realistic vein as “Beyond the Aquila Rift”, but has a gentle humorous vibe rather at odds with the desolate scenery littered with skeletons. This is a much shorter episode and benefits from this – even at this point I’d suggest that the way the series just lets episodes runs their natural course without arbitrarily setting a minimum of 20 minutes, say, is one of its biggest strengths. This episode is really quite fun with a nice twist that left a smile on my face.
“The Witness”: With this very short episode, it’s clearly all about the visuals rather than anything like a story- it’s basically just a chase scene, but one that is just simply jaw-dropping visually, really cementing the Heavy Metal feel of the series. Written and directed by artist Alberto Mielgo it’s possibly a glimpse of the future of animation- lovely touches like dodgy focus, blooming exposure, camera crash-zooms and jitter, almost as if Mielgo got himself a virtual go-pro and shot some scenes from inside a computer simulation. It has a tactile, you-are-there feel, how frantic and energised it is. I expect most people get distracted by the semi-nudity etc but I was swept away by the setting, the buildings etc. Its breathtaking, frankly- not photo-realistic but somewhere between that and hand-drawn anime. Reminded me of one or two of the better Animatrix shorts. I haven’t seen Spider Man: Into the Spider-Verse yet but this did seem similar to that in style from what I remember from that film’s trailer.
So Love, Death & Robots seems pretty solid so far. Really enjoying it.