The weight of responsibility is on Kaldor
ComicBook.com: This season of young justice He deals with a lot of real world issues, but death and grief seem to be on top. Kaldor was always the adult in the room, but he’s clearly repressed a lot as well. How would you describe his state of mind in this new story?
Greg Wiseman: Kaldur definitely had to be the adult in the room, dating back to season one. He is always responsible. The question we want to ask is, “When does weight become too much? When does weight become overwhelming?” And that’s a lot of what this arc revolves around. At what point, given the history that we explored with him, even the history that came before season one with him, how did he become that kind of person, like I said, the adult in the room. At what point did he stop and say, “Can’t I hold these rocks any longer?”
And that was a big part of what this arc was about for him, for us, for the writers, and for everyone involved.
real world issues
We have also seen some other real-world issues addressed, such as gender identity, class, and polygamous relationships. When it came time to bring up these themes, how did you decide which characters best represented each dynamic?
Brandon Fetty: To some extent, the characters tell us. And we obviously have a lot of history with the characters through the comics and various media around the DC world. And so we can, by and large, have a look at what has been done.
In other cases, we have some unique stories for these individual characters, as we’ve crafted Earth-16 as the kind of unique place that doesn’t necessarily follow the exact same history as what we’ve seen in the comics. We have a lot of variations of course, by our schedule. And sometimes, these differences will lead us to make choices about the kinds of issues that might be appropriate for individual personalities.
So you are right. We try to present many of these diverse issues for these characters to show them, how they deal with these things, how they grow through these things, how they learn, because that’s really the point of the show, is to develop the characters in a very realistic and realistic way that will resonate with our audience, and be It serves as a good counterpoint to the many absolutely wonderful adventures that we get with our characters in the vast universe of DC.
clone attack
In this latest episode, we have more clones that have played a role in the series in previous seasons. We’ve seen Ocean Master and Arion, both of which were clones created by Vandal Savage. Without delving into spoilers, what can you say about Vandal’s renewed interest in Atlantis?
Vietti: I don’t think it’s a renewed interest. It is an ongoing and ongoing interest. Only 12,000 years ago, he was interested in Atlantis. And I guess that’s not to say the audience was aware of it, but it was. And so I think he set out to do something 12,000 years ago, and he felt the job was only half done. And so he has been striving to complete this goal since a long time ago, with limited success in the end.
But yeah, I think that’s been an ongoing concern for him, and it’s been fun this season to give Atlantis a little bit of context in the magical arc, Zatanna’s arc last fall, and then see the ramifications of that here in Kaldor’s arc, Atlantis’ arc. I think for me at least, this was such a great confluence of storytelling that we could put the Atlantis arc back into magic.
The new king of Atlantis
And through this arc, we see that Myra ends up taking the title of King of Atlantis. What made her the perfect choice to take over as Oren, and why now is the time to mix things up on that front?
Wiseman: I used to think we were consciously striving to do different genres with each arc, and this was our fantasy Game of Thrones arc. So we wanted to mix it up, and see again, as Brandon previously said, the characters kind of tell us where they should go. And it just turned out that Oren’s reign as king was coming to an end and it was time for Mera to step up and move on, as she was better qualified to do so.
It was also something they did in the comics, DC did in the Aquaman comics, and the Mira comics. So I felt that everything was fine. I felt like the road was leading us down.
Masters of the system escalation
I want to go back to clones for just a second. I think I get some clarification on my end. When the Arion clone sets the crown, it then melts and explodes, turning to dust. This was clearly not Vandal’s plan. But was this just a case of cloned DNA unable to withstand the force that comes with wearing an actual crown?
Vietti: No, I think it has to do with not being an Arion, and that’s who made the crown deal with Lords of Order. And The Lords of Order knew it wasn’t Arion. And they were like, “Uh uh, negative.” That was arrogance. In other words, they had no idea about Vandal and Arion clones. It was Oren really, he had no idea Kaldor would find this crown.
In one of the previous episodes, Arion said to Oren and Mira, “Forget the crown. You’ll never find it.” Then it’s a moment of arrogance. The crown was found and the Arion version says, “Well, I found the crown, give it to me, it belongs to me.” You shouldn’t do that. He has been warned. It’s like, don’t do that. But he does. And the members of the Lords don’t like it. This was their crown.
End Credits Stingers
This makes more sense now, when you put it this way. What was behind the thought to give more depth to the runs that run during each final episode? Because I really enjoyed them this season.
Vietti: We love going out with those. It evolved from Season 3 where I think it was a desire to do something more with the credits rather than just score the credits, see if we could get a little more story or a little more emotional resonance in the credits and maybe make the audience stay around. a little. I also remember actually, now that I think about it, some of the Season 3 finale and credit scenes were so warm and fuzzy because we were dealing with some legitimately dark storylines, and we just needed to lift the mood and finish somewhere a little nicer on the way. And as we evolved into Season 4, I know we wanted to tell more of the story out there, use that time. Greg had a lot of great ideas for dialogue scenes that could expand into some of the character stories we might not have screen time to delve into.
In addition, there was more thought given to the emotional counterpoints of the story. Each credit sequence really ranges from warm and mysterious to very comical and serious. And we really had to think about how to end each episode? What just happened? Where did the audience leave us at the end of the story? What feelings do we want to convey during the credits as well as what additional story do we want to provide?
So there was a lot of thought on that from us, and we really enjoyed doing it because there was a production challenge having to make sure we didn’t do additional animations in there. We had to keep it very limited because we didn’t want to subtract from the animation used for the body of the loop. So we had to be very economical about the way we presented these stories during the final credits, but it was a challenge that we really got into and really enjoyed.
.
[ad_2]
