This second episode opens in a mouth where two tongues are entwined. We soon realize they are Aeon’s and Trevor Goodchild’s. The tone is set. It is again outrageously sensual and at the same time unsensual. However I do appreciate the coarse aspect of this cartoon because it is precisely why the spectator is going to remember it.
In this episode, Aeon has been given a new mission, another target. She is in a plane; again she falls, but tries to reach her target even though. She ends, as well as the episode does, smashed into a cliff.
The episode is much shorter than the pilot was and lasts only 3 minutes. It definitely gives the show its burlesque sketch character. We understand now that the governor Goodchild will also be a recurring character and Aeon feelings for him are confirmed. I say burlesque because in this kind of story spectators might expect the heroine to be ultra feminine, brilliant, and good in what she does. They will also be likely to expect a complicated love story between the bad guy and the heroine. Nevertheless in this cartoon those expectations are brought down. Aeon Flux is gauche, she fails in her mission and the “love story” is pushed into the background. Her relationship with Goodchild is depicted more like being the satisfaction of sexual instincts than the expression of feelings.
The aesthetics of the show drive audience interest and seems to be reflecting the director’s own fantasies. I wonder: Didn’t Peter Chung actually want to produce a sadomasochist porno cartoon but couldn’t because of the lake of potential distributors?
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