Prince Planet is a series of stories about a young alien visiting earth. From a planet called Radion, in the English versions, he is curious about humans, and while learning about them, does what he can to protect them from evil forces. The classic animation style is monochrome with vibrant landscapes and character designs.

The central themes of the series revolve around friendship, bravery, and the importance of using technology for good. Always willing to help those in need, Prince Planet himself is a relatable and genuinely likeable character, who is curious about the world around him. The supporting cast of personalities, be they friend or foe, add depth and humor to the show.

The anime Wizards was released in 1977

The action scenes in Prince Planet are well-choreographed and feature exciting battles between the supernatural Prince and his enemies. There is an imaginative use of technology, such as the prince’s transforming spaceship and the various gadgets and weapons he uses. This fun, futuristic component to the series, makes it concurrent with the theme of amines of today, in spite of its lack of color.

One of the standout elements of Prince Planet is its catchy and upbeat theme song, written by Guy Hemric and Jerry Styner, who were better known for their Beach Party movie soundtracks. The song perfectly captures the adventurous spirit of the series. The show’s soundtrack is also noteworthy, with memorable and fitting tracks that add to the show’s overall atmosphere.

In conclusion, the classic anime series Prince Planet deserves recognition for its imaginative storytelling, memorable characters, and exciting action. Its themes of friendship, bravery, and the responsible use of technology still resonate with today’s audiences, creating a timeless and entertaining watch for fans of the sci-fi anime genre.

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Fantastic Planet is an adult science-fiction cartoon. It isn’t adult for eroticism, but rather deeper themes and violence, not appropriate for young children. The animation won the Grand Prix special jury prize at the 1973 Cannes Film Festival. And Fantastic Planet still holds esteem, as in 2016 Rolling Stone Magazine ranked it number 36th in the greatest animated movies of all time.

Fantastic Planet was originally released in French. A collaboration between the French and Czechoslovakians, based on a 1957 novel,”Oms en série” by Stefan Wul (aka Pierre Pairault). The novel’s title loosely translates to “Man, mass-produced” where Oms, a play on the french word for man “homme”, are the name given to the human-like species of the main characters. Mass-produced gives the prevailing attitude towards the Oms, they were kept by the dominant species, as pets and servants. But they replicated like rodents and wild one’s were similarly treated much like we treat an invading population of vermin.

Fantastic Planet stands the test of time because it captures the human condition. Even though an alien face is given to the dominant species, we can relate because we are the dominant species on this planet. We consider ourselves cultured and sophisticated, yet in our comforts, we often become callous to those around us that fail to meet our expectations. Some would argue this is about how we treat animals, yet it is our fellow man that suffers the most from our rules.

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But as much as Fantastic Planet gives justifications for war, and compromise, it also holds the secret to eradicate tyranny. That secret is knowledge. The Oms are kept desperate, scurrying around like terrified animals because they have no way of understanding their captors, or what gives them power, besides their relative size. When one escaped “pet” brings the ability to read to his people, he must first use savagery to be heard. But, he becomes a leader among them, because he can teach and predict exterminations, thereby protecting the Oms who follow him. This upsets the utopia that his captors once had. A lesson for us, that utopia for some often means slavery for others. It is only when we treat each other with respect that compromise and a balanced existence is possible.

Another dystopian cartoon
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Rudolph the Red Nosed Reindeer was created before Rankin Bass and their stop motion animation films made them a household name. The Christmas special became a staple for children annually from it’s first transmission in 1964. Being shown with various edits and deletions along the way. This version is most complete, with the misfit song, the whole instrumental section of the “We are Santa’s Elves” song, Yukon Cornelius striking peppermint, and of course Santa’s stop on the Ilse of Misfit Toys.

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Everyone knows the children’s song Rudolph the Red Nosed Reindeer, which was released in 1949. The boomers and every subsequent generation, literally grew up with this magical image of Santa’s sleigh being pulled by these flying reindeer. Re-watching it as an adult I was at first taken aback at Santa’s initially callous attitude towards Rudolph. But as a child, I hadn’t even noticed this beloved adult joining in the ridicule. Reflecting on everything, I have come to the conclusion that this animation captured a social reality that has been clouded by woke ideologies and domination of the current narrative.

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So I hope as you watch Rudolph the Red Nosed Reindeer this year you take these things to heart. One, misfits are everywhere, and they often come together when ostracized; but even among the misfits there are cliques; Cornelius, Hermey and Rudolph were not welcome to live with the toys. (We are tribal, you can’t force everyone to love you). our individualism can even save the day when we embrace our uniqueness. Two, true friends don’t care what if you are different, and there is someone out there for everyone; Clarice liked Rudolph and not only didn’t care what other’s thought, but joined his family to hunt for him. (Love is blind, and conquers all) . Three, when someone who doesn’t fit in, does something exceptional, he is a hero. Rudolph wasn’t the only hero; Herbie, who pursued his dream to be a dentist, pulled the teeth from the Abominable Snowman, nullifying his ability to terrorize everyone.

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Rankin and Bass won the animators battle to finish the trilogy of the Lord of the Rings with their version of the Return of the King. But their original working title: Frodo : Hobbit 2, was much more appropriate as they failed to leave behind their cartoonish, sing-song children’s entertainment despite more adult-oriented content. For Ralph Bakshi fans this was very disappointing, for Tolkien fans…until Jackson’s epic movies, it would have to do.

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This Return of the King animation begins at Bag End. Home of the infamous Bilbo Baggins, where he notices that his nephew has returned from a long absence missing his ring finger. With the help of a lute player the story progresses, recounting the events that led to the destruction of the evil ring and the beginning of the age of men.

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Watching the epic films that Jackson made more recently, I found that Elija Wood’s portrayal of Frodo reflected the vision that Rankin-Bass had given us, in this Return of the King, rather than what Tolkien wrote. Maybe it was the fact that a 17 year old was cast to play a 50 year old hobbit, and that reeks of childlike. I can’t be sure. But juxtaposed against Sean Austin’s perfect portrayal of Samwise, Frodo’s faithful sidekick, Wood’s knowledge of the character seems to stem entirely from this Rankin-Bass Return of the King, rather than Tolkien’s novels, which Austin obviously read.

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This Return of the King ends a rather disjointed animated trilogy beginning with the Hobbit. But if you are a true fan of the story or either a fan of Rankin-Bass or Bakshi, you should watch all three to appreciate what is, as well as what could have been. And while you are taking it all in for the umpteenth time, ask yourself who read the epic novel and who just watched the films. Can you tell? What is your favorite adaptation, or are you a diehard book enthusiast?

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After the Hobbit came Lord of the Rings, and in 1978 Bakshi Productions gave us their animated rendition of the J R R Tolkien saga. The task was daunting for Bakshi, who had wanted to do this since he first read the book. Tolkien’s classic was just too well loved and well known to screw up, and some people thought the task impossible. It took a visit to the Tolkien estate and many rewrites to get the story acceptably condensed for an animated presentation, but it was supposed to include two films. Bakshi had even been the one to suggest to Distributor United Artists that Tolkien’s The Hobbit be made as a prequel.

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Using his pioneered rotoscoping technique to overlay animation on real actors footage, the Lord of the Rings took two years in production. It was supposed to have a sequel to tell the whole story. Something readers of Tolkien’s trilogy would completely understand and accept. But Bakshi lost his battle to label the production “part one”, because producers were worried that nobody would pay twice to see the full movie, (evidently they never read the 3 part novel). Ultimately that decision angered viewers who expected the whole Lord of the Rings saga. To make matters worse, while Bakshi was in production of the sequel, Rankin-Bass (who did the cartoon prequel the Hobbit) were given the go ahead to produce the end of the Lord of the Rings saga, Return of the King. Not much later funding was pulled from Bakshi’s project and the second part of The Lord of the Rings was never made.

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Ultimately though Bakshi’s contribution inspired the live action trilogy of recent times. And he was happy that he kept his promise to Tolkien’s daughter to keep true to Tolkien’s vision. And I think he can take solace how these inspirations have led countless new readers to pick up Tolkien’s treasured Lord of the Rings and read it for themselves.

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By now the world is familiar with the Hobbit because of the live action trilogy films. But before the special effects and New Zealand built Hobbiton, all we had was JRR Tolkien’s 1937 novel, and then this delightful cartoon, by Rankin and Bass. Rankin and Bass were known for all their children’s holiday specials throughout the 70s. So unsurprisingly this version of the Hobbit, (like the original novel), is directed at a juvenile audience.

The 1977 cartoon version is 90 minutes long.

Keeping in mind that the Hobbit, in it’s 1977 version, is an hour and a half cartoon. This was made for the attention spans of children (and ADHD sufferers alike). As such, it is nothing like the recent 3 part extended cinematic series. This animated version of the Hobbit keeps the spirit of the novel intact, and it serves it’s purpose to introduce the imagination of JRR Tolkien to a generation of would-be readers. Because if you’re not a reader, picking up the 200 page the Hobbit book is a daunting task. And unless you are an avid reader, the challenging Lord of the Rings, is no place to start until you have a hunger for the world Tolkien recounts. Because the Lord of the Rings, for which the Hobbit is a prequel; is a true trilogy, in which Tolkien even invented languages.

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The animation of the Hobbit was good for its time, but it lacks the vibrancy typical in modern highly technological cartoon offerings. Still, it is also less affronting to the senses. This is a definite must watch if you have kids in grade school. Or maybe for your own curiosity, if you have never seen it before. Rankin and Bass don’t disappoint, and a condensed version of the Hobbit is much easier to absorb in one go that any other current offering. Enjoy!

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American Pop, released in 1981, has got to be one of the best showcase films of Bakshi’s unique animation storytelling style. Not only is the soundtrack great, but the film follows a family through 4 generations of pursuing the American dream, armed with only talent and perseverance. While the definition of American pop music changes with each generation, the general theme of chasing the dream using whatever tools you find at your disposal is constant. underlying struggles against poverty and political strife, pitfalls of addiction and relationship struggles in those landscapes are a constant theme. This continuity is the secret, more than the music itself, to captivating the audience, who all on some level are chasing their own American dream.

Bakshi has a realism in his creations that comes from more than the overlay of animations on real actors. He doesn’t look for the fairy tale ending but rather highlights the ongoing struggles of humanity, warts and all. He never shys from political strife and war, he shows struggles with poverty like someone who has experienced it first hand, and he doesn’t even judge the seedier lifestyle that so many of his characters (at least in this movie) find themselves while trying to eek out a living with the hand their were dealt.

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American Pop begins with a Jewish widow fleeing war-torn Russia in the 1890s with her young son. They wind up in America where, still a boy, he finds work helping the music director of a Burlesque theater/brothel. Music from Gershwin, Louis Prima and Herbie Hancock cover the early piano and jazz styles. The Mamas and the Papas, and Bob Dylan give way to the Lynard Skynyrd as folk music developed a harder edge and American Pop music became synonymous with rock’n’roll. . But you’ll have to watch the movie to really appreciate this anthem to the American dream.

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The story opens with a Corvette dropping from a space shuttle to earth. It’s occupant and astronaut Grimaldi presents his daughter with a orb called the Loc-Nar that destroys him. This evil entity then shows the girl how it has dominated societies throughout time.

Unlike typical animation, the Heavy Metal movie used rotoscoping. Max Fleisher developed the rotoscope which projects live action to be traced over frame by frame making a real live scene into something drawn. The result is a film that is worth seeing just for the technical aspects, but will probably be remembered for its music, and sexually titillating scenes.

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Secondary sidekicks unknown in the comics were introduced. None of the trio of Wendy Harris, Marvin White or Wonder Dog, demonstrated any special abilities, but there were superheroes in training.

Some notable voice actors were: Ted Knight, Adam West, Casey Kasem, Shannon Farnon and Sherry Alberoni.

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The youthful team of champions live on spaceship called Phoenix, and each in turn has their own futuristic vehicle. Jason drives a race car reminiscent of James Bond with its hidden weapons, whose storage bay is in the nose cone of the Phoenix. Princess comes out of the left wing on her Galacti-cycle. Keyop exits the right wing in his “Space Bubble”, a cross between a tank, a helicopter and a submarine. Mark is the ace jet pilot who exits the rear section of the ship in his space capable fighter plane. Lastly, Tiny pilots the Phoenix where all activity can be co-ordinated.

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