My initial response to the flat look of season 13 was one of dismay. I was really sad to see the models go. But after the initial reaction, I find myself less taken aback and more looking forward to what kind of visuals it will produce. We have 12 more episodes for them to develop the style even more.
It was watching Pearl and Synthia with the rotating moon background that really won me over. Watching the way a non-static background could add detail was really fun. There’s a whole paper doll aesthetic that I really like about the new look. In its own way, it’s a sort of continuation of what the show has always done- making more with less.
While I agree with people that some of the compositing could use some tweaking, it’s honestly a really great look. I’m very excited to see what they do with the show, moving forward.
It took a little getting used to, but after viewing Santo a second time, I was down with it. I like the return to the handmade aesthetic of the original show, even if the greenscreen leaves a little to be desired.
Yeah, I think a lot of us expected more of what we saw in the Netflix era. Now that I know it’s going to be different, it’s fine.
“Paper dolls” is a very good analogy, and I think it captures the charm of the new, lo-fi look.
Like pretty much everyone, I too was taken aback by the new look at first. It took about a half hour for me to realize that this was just KTMA Part II. I love the KTMA season, and I love the seat-of-the-pants, shoestring feel that MST3K always had. And it is nice to know that the concept and exectuion still hold up on a lower budget.
Of course, the elephant in the room is that if they hadn’t gone lo-fi we would be getting like three episodes instead of thirteen. I bet we all agree that the money is better spent on the many talented people working on the show and giving us a full, meaty season (ie. not Season XII).
Honestly, the thing I noticed the most was the door sequence changing. It’s interesting. (Mind you, I still want something with the liveliness of the doors used when Joel was around, but eh.)
As others have stated, the look feels like KTMA+. I’m really fine with it. I have long suspected that the first Kickstarter that landed the show on Netflix…our backer money was really only seed money — Netflix provided the bulk of the cash, supplemented with donations from the high profile actors who had cameos on the show. That level of production isn’t sustainable on a fundraising budget.
I’m also down with that KTMA vibe, too.
Once again, it feels like the show has some seriously heartfelt low-budget charm, and I’m all here for that.
But, back then, the actors only got $25 per episode.
But they also got pizza and pasta, so it all evened out.
I really dig the low tech vibe. Hell, I’d pay cash money for a little flat-o-vision diorama.
And an aside, it was just snowing here in southern England. Wacky.
Bonkers isn’t it? Now it’s sunny again. I wonder if there’s beer on the sun?
You guys are describing a Terror Of The Zygons.
Or The Claws Of Axos styled “freak weather conditions”.
Maybe Alternaversal can use their laser router from the Netflix seasons to turn out a flat-pack bridge of the SOL and Moon One control center playset?
I’m allowing for it given the pandemic situation. I would prefer they find a better medium between past production values and something more budget-conscious in future. The opening is good-hearted as always, but brutal to watch technically when it’s stuck on just Kinga and Max with that greenscreen. I am curious how the final product of each episode will look, so I’m giving them the time.
I wonder if Netflix got to keep the Laser Cutter.
I’d buy an MST3K Colorforms set in a heartbeat.
It can go next to my Peewee’s Playhouse Colorforms set.
Or Shrinky Dinks! Remember?
How about Creeple People of the bots?
… a specially-themed Lite Brite set?