Netflix season 2 ‘Love, Death and Robots’ doesn’t live up to the premiere

Netflix is ​​back with another batch of Love, death and robots episodes, the curious little sci-fi animated short project that was more unique than almost everything else on the service.

The 18 different animation styles in Season 1 were a plethora of beautiful animation styles and clever, memorable storylines.

The 8 episodes of season 2 are… much less of both.

I was disappointed to find that Season 2 just doesn’t measure up to Season 1. Part of it may be its size. Out of 18 episodes, you’ll probably find at least half a dozen that you really liked. But losing weight to 8, when 6-7 is missing, it does not feel good.

Simply put, few of these stories come out to me after the fact. Perhaps the smartest is automated customer service, the first where a woman goes to war with her futuristic Roomba trying to assassinate her. The most striking thematic was the finale, The Drowned Giant, although it ultimately sounded like a metaphor I didn’t quite understand, and I wish it had gone to different places. I also liked Snow in the Desert, combining photorealistic animation with an interesting plot about a regenerating immortal human.

The entertainment this time around is… a bit disappointing. In all eight episodes, there was only one 2D episode, Ice, and many episodes felt like they were leaning on exactly the same style of photorealism. Of course, the photorealism is technically impressive, but we come to a point where it therefore well, I would ask the question of why this exists. For example, Life Hutch stars Michael B. Jordan mostly in one room, lying on the floor, having filmed in what is almost certainly a performance capture suit. In most footage, it’s almost impossible to tell it’s not. in fact Michael B. Jordan onscreen in the flesh, raising the question of why they just couldn’t film this … with the actual actor in a room, then just CGI the robot he’s fighting. It sounds like a very impressive tech demo with little real purpose.

Love, Death, and Robots is often compared to the “animated black mirror”, but it’s a bit meta when the question it raises is what happens when the animation becomes so photorealistic it just doesn’t seem right. not distinguish between human actors? Is it impressive or redundant? This is sort of why I was missing some of the more eclectic styles of animation from Season 1, which focus on artistic design and creativity rather than the power of your rendering machines.

Very little about this season resonated with me. I still remember The Witness, Suits, Sonnie’s Edge and others from Season 1. Here I don’t think I will remember Season 2 much other than some of the more awkward storylines like “a guy doing kids in a future dystopia and feels bad about it ”in Pop Squad. The show just lost something on its return, and I hope to see it regain some of its magic for a third volume, if there is one.

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About Shelley Hales

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