“We’re all doomed!” muttered an internal voice whilst watching this thoroughly bleak yet seemingly rational animation about the fundamental incompatibility of environmentalism and the current fuel based economic paradigm.
Initially conceived as a lighthearted parody of the pro-capitalist propaganda cartoons of the 1940s and 50s, this Flash animation maintains a commitment to the juxtaposition of serious or complicated concepts with lighthearted and infantile graphic techniques; the characters are cute and inanimate materials are personified. Dermot O’Connor does his best to extend such jollity into the graphic representations of data. However when the flow of imaginative imagery inevitably runs as dry as some of the film’s subject matter, enough distraction is provided by the film’s apocalyptic overtones that criticism is effectively stifled.
Efforts are made to keep levels of panic at a low simmer. Twinkling classical music soothes the tone of the film as catastrophic statements are churned out. Similarly the female narrator’s soft delivery greatly contrasts the alarming information she imparts.
Gradually I started to mentally add two dots above each bell shape graph that predicted decline of a resource or living standard, resulting in a stream of crude sad-face emoticons.
The Frequently Asked Questions on O’Connor’s website made for interesting reading. In this the writer/animator bitterly describes the film ‘consuming’ up to ‘three full years of personal labor’. In response to the question ‘Would you do it again if you knew how long it was going to take?’ O’Connor retorts ‘No. In the intervening years, it’s become clear that people are deeply set in their opinions, and that most of the writing/commentary/movies that are made simply reinforce existing beliefs, rather than change them. In addition, dealing with this subject is likely to have one labeled a Eugenicist/Genocidal-maniac/New World Order puppet/Illuminati/Oil-industry-shill/The AntiChrist, or worse. It would have been wiser to create a cartoon about crime-fighting squirrels with super-powers.’
Despite being sympathetic and interested in much of O’Connor’s concerns this film has an uncanny pacifying effect. Rather than a call to arms the lasting sentiment is that of inevitable doom. Readers may ask ‘why write about a project that seemed to bring down both creator and audiences.’ In response I suggest it might be a good idea to consider the worst every now and then. The blissful comfort of ignorance can be as inversely distorting as crippling paranoia. We all need a bit of doom in our lives if not just to provide perspective on the triviality of our own day-to-day soap opera or maybe even help us re-think our tangled relationships with non-renewable energy sources.