Review VO – The Jetsons # 1

The Hanna-Barbera universe launches a second wave this year with the arrival of new titles. Between Future Quest Presents and its few One-Shots here and there, the new, more new license takes a new twist far more detached from fun. Among these novelties, the Jetson was certainly the most anticipated title. So True: XXII Century Great absent from the first titles published, the Jetson are nevertheless one of the most popular titles in the United States. With the 1961 series, a film in 1990 and an animated feature film crossover with the Flintstones, the series has survived despite everything and keep a classic aspect of the American animated series. What about here? The Jetsons are very much associated with what seems to be more than a screenwriting choice, but an editorial line. The family is presented on a case-by-case basis, in a daily situation. This is the very principle of the series, which was to tell the daily life of a typical American family in a dystopian futuristic universe (in a second reading) with a dominant humorous scope. Jimmy Palmiotti precisely, seems to accentuate this dystopian vision and direct the story towards a reversal of genres that already proposed the series. A light sense of humor remains, but it leaves a lot of room for a more serious tone, and a reflection on the world, its evolution and the feasible solutions. Adult Swim A more adult title than the cover of Amanda can reveal Conner. The characters, however, only respond to their characteristics of yesteryear, out of respect for the original work. Which is ultimately the most disturbing. The animated series was intended to be a fine satyr of the social situation and thus makes each character enter into a type reducing his character to a principle. The father is a good worker and is drunk under the imposed load of his boss. The woman is kind and ready for anything for her family. The eldest daughter is flirtatious and falls in love with the first comer, while her younger brother is a gifted. Conventional family portrait to scare. While I dreaded the presence in the scenario of Palmiotti, this first issue proves to be a pretty good surprise in the subjects that will probably be treated later. The topics raised here are already touching, and well found, including the conservation of works of art after a "Flood", or humanity through the robot. On the side of the drawings, Pier Brito has a rather disconcerting style , which prevents us from adhering to humor (not present anyway) but integrates well the more serious tone of the story told here. Despite all the praise for colorist Alex Sinclair, his work here is quite strange. We move quickly from a setting with precise features with a domination of bright colors, charming, for a drawing then with the features multiplied creating almost a dominant dark, dramatic that has no place in this issue. The drawing stands as a barrier to overcome to reach the feeling. If it's not really disturbing at the moment, and the result remains good anyway, we can fear later a discomfort between what the screenwriter seeks to produce and what the artists will succeed in transmitting.An intriguing first issue, full promises, but with some flaws that might prove disturbing thereafter. We will wait at the turn a screenwriter often light in the treatment of subject, which could reverse its tendency to make the strength of this title. The cliffhanger is a disruption of the initial situation, assuming a subject that has been the subject of controversy for a long time – unless I misinterpreted it. It would be more than invaluable to see a comic-book take a strong position in this debate, or another, in a title critical range.Ce what you think … CONNECT TO GIVE YOUR OPINION! Sort by: Most RecentMain ScoreMost UsefulPrevious ScoreBe the first to give your opinion. {{{review.rating_title}}} See more

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