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"Welcome to Happy Harbor"
It's times like this I am grateful to J. Michael Straczynski's "Babylon 5" for conditioning me to be patient with new TV shows. Like the early episodes of "Babylon 5," while this episode was quite enjoyable, it didn't suck me in and hook me. There just seemed to be a disconnect for me and what was happening on screen.
Mr. Twister didn't excite me as an antagonist. His design was great, and the effects of his powers were great, but there was just something there that didn't grab me the way, let's say Electro did in the first non-pilot episode of "Spectacular Spider-Man." But, maybe it's because I've never been a DC reader, and I never heard of Mr. Twister before this episode aired.
The character interaction was perfectly enjoyable, though. Kid Flash has great chemistry with just about everybody, and his line about finding himself hot had be rolling. Superboy continues to be a fascinating character, especially in his search for identity and purpose.
But, the meat here is the newest team member, Miss Martian. At first glance, she appears to be an unfortunate hold out to the early Silver Age of comics where most of the female characters were just girlfriends and damsels in distress, such as Marvel Girl and Invisible Girl back when Stan Lee was writing the books. But, by the end of the episode, she takes charge and proves that she is quite formidable and deserves to stand shoulder to shoulder with anyone else on this team. I had a feeling her whole "baking cookies" moment was designed to get us to underestimate her.
And her gambit where she posed as Red Tornado was brilliant. I'll admit, I was fooled.
Not bad. I liked it. I liked the pilot much better, but I appreciate a slow build... especially when I know the payoff is going to be excellent. And trust me, comparing this to "Babylon 5" is about as high a compliment as I can give.
Looking forward to next week's. I'll definitely keep watching.
Baking cookies wasn't there to get you to underestimate her. Mostly it was there to illustrate character and hint at future revelations.
Young Justice Stats - Part II
I typed ALL this up yesterday, posted it -- and it vanished into the ether.
We've completed the scripting and recording of all 26 episodes of Season One of Young Justice.
Episodes 1-7 have aired.
Episodes 8-9 are in post-production.
Episodes 10-13 are being animated in Korea.
Episodes 14-15 are having their models colored.
Episodes 16-18 are getting final models on characters, props and BGs finished.
Episode 19 is in checking.
Episode 20 is in timing.
Episode 21 is in storyboard revision.
Episodes 22-24 are awaiting storyboard notes and revisions from their directors and/or the producers.
Episodes 25-26 are in storyboard.
In Season One, we have 179 named characters from the DC Universe. That's an average of 6.9 characters introduced per episode, though of course some introduce more and some less.
We used 66 actors total. That's 2.7 characters per actor, though that's a particularly meaningless number, as some characters don't speak or only grunt. Also many actors only performed a single role, while others performed considerably more than 2.7. The record holder (with 11 roles under his belt) is Kevin Michael Richardson with 11, beating out Jeff Glenn Bennett by one.
The average number of actors used per episode is 12. The episodes that required the fewest actors were 3, 9, 12 and 24 that needed 9 actors each. The episode that required the most actors was 25, which needed 19 actors.
Our shortest scripts -- at 31 pages each -- were from episodes 1 and 12. Our longest scripts -- at 35 pages each -- were from episodes 6, 7, 9, 16, 21, 22 and 25. The average page count across the 26 episodes was 34 pages.
The average line count was 231 lines of dialogue per script. The largest line count was 276 for episode 25; the smallest was 213 for episode 8.
Our longest dialogue track was 14:33 for episode 7. Our shortest was 10:07 for episode 12. The average length of our dialogue tracks is 12:14.
Of course, by the time you see them, all episodes will be the exact same length, give or take 30 seconds, including our 20 second main title -- which is a length dictated by the network. (I guess the days of minute-long theme songs are over.)
That's it for now...
In the pilot, there was a Zeta Beam from the Adam Strange part of the DC 'Verse , is Adam Strange then still a silver age hero in the timeline or has he been shifted more to the present?
No comment on Adam Strange.
But our transport tubes -- which require a machine at BOTH ends (as opposed to Star Trek, for example) -- use Zeta Beams.
YOUNG JUSTICE Episode #7 ("Denial") Credits
Young Justice Theme Written And Performed By
Casting & Voice Direction
Starring The Voices Of
Stephanie Lemelin as Artemis
Danica McKellar as Mâgann Mâorzz
Nolan North as Superboy
Khary Payton as Kaldurâahm
Jason Spisak as Wally West
Starring The Voices Of
Thom Adcox as Klarion
Edward Asner as Kent Nelson
Jeff Glenn Bennett as Red Tornado, Abra Kadabra
Kevin Michael Richardson as Nabu
Cree Summer as Madame Xanadu
Based On DC Comics Characters
Batman Created By
Miss Martian Created By
Geoff Johns and Tony Daniel
Doctor Fate Created By
Madame Xanadu Created By
David Michelinie and Val Mayerik
Assistant Production Manager
Lead Character Design
BG Key Design
Manalac âTecâ Cornelio
Charles E. Drost, III
Animation Timing Director
James Tim Walker
R. Michel Lyman
Ink & Paint
Main Title Animation
MOI Animation, Inc.
Supervising Dialogue/ADR Editor
Mark A. Keatts
Post Production Manager
Dialogue Recording Studio
Recording Machine Operator
Jeff O. Collins
Post Production Sound Services
Audio Circus, Inc.
Christopher D. Lozinski
Lotto Animation, Inc.
Supervising Animation Director
Jinhwa Heo (Jun-E)
Executive In Charge Of Music
Business And Legal Affairs
Joulene St. Catherine
Executive in Charge of Production
Executives In Charge Of Production For Cartoon Network
Brian E. S. Jones
This motion picture is protected under the laws of the United States of America and other countries. Any unauthorized duplication, copying, distribution, exhibition or use may result in civil and/or criminal prosecution.
Â© 2011 Warner Bros. Entertainment Inc.
ALL RIGHTS RESERVED
Country of first publication United States Of America
YOUNG JUSTICE and all related characters and elements are trademarks of and Â© DC Comics.
Warner Bros Animation Inc. is the author of this film/motion picture for the purposes of Article 15 (2) of the Berne Convention and all national laws giving effect thereto.
There are, as always, a bunch of people who ALSO helped out but don't receive credits on screen for various (legal and precedent) reasons.
A handful (in no particular order) include...
Dan Soulsby - Talent Coordinator
Eric Lewis, CAS - Dialogue Sound Mixer
Chris Eaton - Assistant Engineer
Otis Van Osten - Sound Supervisor
Ron Salaises - Sound Effects editor
Carlos Sanches - Re-Recording Mixer
Stacy Michaels - Foley Mixer
Alex Ulrich - Foley Walker
I know I'm probably forgetting some folks, and I REALLY apologize! If you send me a reminder, I'll pimp you in another post!
Hi, this is more comment then question. First of all the quality of the animation and the character designs for Young Justice is truly wonderful. 10 out of 10...well maybe poor WW's tiara could do with some shrinking. Her forehead is hiding behind that huge thing. :p
I am just hoping that this verse will keep the essence of the DCU but not go down the same road that TAS and Jl/JLU went down. I see you have assured us that you are trying to keep this Earth unique and fresh. I hope so.
Please do better also in how you write your females. The Timmverse women can never touch your Gargoyles females in my opinion and, no, you don't have to comment on that. :) Your ladies were actually complex and have personalities. I couldn't even bear the way Wonder Woman was written in JL/JLU and she is my idol. I must admit I was not happy by the way way the ladies were portrayed in the first episode of YJ. But I have faith that you will do right by them.
So thanks again for making me excited to tune in and watch some decent animation.
Can I just ask...?
You say you were "not happy by the way way the ladies were portrayed in the first episode of YJ," but do you mean that? You don't like how they were portrayed -- or you don't like how little they appeared at all? Cuz there's a big difference between those two things.
AHHH so excited for the new episode tonight though by the time you read this message I'll have thoroughly enjoyedf it. I was just wondering how close an eye your keeping on the Young Justice tie-in comic? Like do they have to fact check continuity with you, or are they also kinda paving their own way? I doubt they'll ever be some epic continuity clash I was just wondering how it was being dealt with.
We're all working together very closely. Kevin Hopps and I wrote issue #0. And we're very active in talking story and character with Art & Franco on issues 1-6. Then Kevin and I take over fulltime, starting with issue #7 (which we've already written).
WHO was the first (a) person, (b) being and (c) entity to figure out how to work the Phoenix Gate?
The one who bound the Phoenix.
Are we gong to know the characters' birthdays in young justice?
Thank you so much for taking the time to answer our questions. You and Brandon have done really great work on the show so far. I'm looking forward to see what you have in store for the Young Justice team and the DCU at large.
Anyway, I just have a quick question about the pilot episode(s). When Aqualad, Kid Flash and Robin were captured by Desmond, how exactly did Superboy break the control of the G-gnome controlling him? Did Dubbilex have something to do with it or is Superboy really just that stubborn?
I'll largely leave that to interpretation, I think, but there were a number of factors. Aqualad's words. The G-gnome no longer actively controlling him. Maybe Dubbilex. Superboy's strong feelings vis-a-vis Superman. Etc.
The Gargoyles had very moody and powerful orchestral score, fitting very well into dark athmossphere which show embodied. Batman: The Animated Series had similar alike score(aside sharing some of its, writers/co-workers working on both of the shows).
However, Batman Beyond, although following in same timeline as Batman, taking place in dark future, had much more techno-metal soundtrack. Some themes similar to those heard in previous serie,s were also sometimes used, although in different instruments. Although liking of this change had been little bit mixed among fandom, i personally enjoyed this change, giving refreshing and differencing mood from it predecessor.
Somehow, i always envisioned that Gargoyles 2198, if ever reached to level of becoming animated series, would use similar kind of musical change: after all, in this spinf-off technology had expaned even beyond what we had seen in original Gargoyles, and we,ve would be seeing, thanks to Space-Spawn, alot in and out in our solar system: somehow i personally hear music like Static-x or Matrix soundtrack when thinking what this new enviroment would look like.
Do you think score would remain similar to Gargoyles, or would its future spin-off take futuristic change in not just visual but also sound?
I do understand that you dont usually like hypotethical questions, and i also try to avoid them, but this simply has been rolling in my head alot...
Score-wise, I don't think we shared any personnel with Batman: The Animated Series. Carl Johnson was the Gargoyles composer. Shirley Walker did Batman with a number of composers, but I don't think Carl was one of them, though I might be wrong.
I'm sure we'd incorporate certain Gargoyles themes, while striking out in a new direction, but I'm not interested in defining that direction now in any way.