Archives for posts with tag: Mandark

Dexter's Odyssey poster design without taglines by timbox129

I still don’t know if you’ve heard about this or not but I thought you might be interested.

Anyway, the 12 things as mandated by my edict for what I wanted and envisioned for Dexter’s Odyssey—my planned Genndy Tartakovsky/Dexter’s Laboratory Cartoon Network characters n’ dinosaurs epic—are as follows:



I understand the fact that the last two seasons of Dexter’s Laboratory weren’t as good as the show’s original 1990s run, but for the character designs and 2D animation art style for the Dexter’s Laboratory characters to be included in Dexter’s Odyssey (like Dexter, Dee Dee, Mee Mee, Lee Lee, Mandark, Action Hank and Dexter and Dee Dee’s Mom and Dad), just stick to those from the 1990s run of Dexter’s Lab, not those from the 2001-2003 revival.


Even if the 2D traditional and largely hand drawn animated toon characters in Dexter’s Odyssey should be put in an otherwise live action world alongside mainly CGI dinosaurs and real life flesh and blood human performers, there must be a contrast between those from or in the character design and animation art style of Dexter’s Lab (the original 1990s run, at least) and those from in the character design and animation art style of Samurai Jack.

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I suggest no thick black surrounding outlines for the Samurai Jack-style toon characters, but retain the thick, black, surrounding outlines for the Dexter’s Laboratory-style toon characters.


Well, I suggest the Asian friend of Dexter’s sister Dee Dee: Lee Lee, to be exact.


Even though Dexter’s Odyssey may be titled after Dexter the boy genius himself, Dexter’s Odyssey should focus for the most part on his sister Dee Dee’s Asian Friend Lee Lee and her mythic and epic ‘hero’s journey’ and not just Dexter and Dee Dee themselves feuding!


For too long, all films and video games that have happened to feature dinosaurs, have, without exception, contained conscious nods to the Jurassic Park franchise—whether it’s visual or auditorial.


Dexter’s Odyssey’s dinosaur scenes should contain little or no conscious nod—whether be they visual, auditory or narrative—to the Jurassic Park franchise.

Instead of the usual scaly reptilian and featherless representations of dinosaurs like the Velociraptors in Jurassic Park, there should be more bird-like and feathery dinosaur representations like this dinosaur:


There should be beautifully rendered feathers, plus some recently discovered dinosaurs that we never see restored before, as well as a respect for dinosaurs that does not always treat them as mindless movie monsters or just kids stuff all the time, y’know what I’m saying?

Also, There should be no doubt that Dexter’s Odyssey would “reinvent big dinosaur adventure entirely”. Rather than getting bogged down in endless rewrites and development hell like what would become Jurassic World (coming in 2015, perhaps), it should provide a fresh new look at dinosaurs by doing something not done well since Who Framed Roger Rabbit (unless Space Jam and Looney Tunes Back In Action are counted) by combining live action and animation as well as dinosaurs.

But dinosaurs aren’t just seen, of course, they are heard, and one practice that has endured since the early days of sound movies is the use of real animal noises in the creation of the roars of fantasy creatures including dinosaurs, for example:

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Murray Spivack manipulated lion and tiger vocalizations for the original King Kong movie; The late Ray Harryhausen employed the sound of a slobbering camel for the Valley of Gwangi; And Gary Rydstrom incorporated a baby elephant trumpet into the mighty roar of the Tyrannosaurus Rex for Jurassic Park.

If I hire somebody who is a sound designer or sound editor to continue this time-proven technique on the big screen for Dexter’s Odyssey, I and that person should live within that world, but have to make sure that the dinosaur sounds should sound different than the dinosaur sounds of Jurassic Park.

But at least I wanted some of the larger theropod dinosaurs in the story such as the infamous T. Rex to stand-in for the dragons of myth, legend and lore. Just kidding!



And I mean it.

The score for Dexter’s Odyssey should be this unusual and bizzare blend of epic and cinematic music, some bits of toon music (for Dexter’s Odyssey’s more comedic moments) and ethnic instrumental and ethnic vocal musical sounds from all around the world.

Sorta like the music for The Lion King, right?



Since it is supposed to be an epic movie project, replete with raging epic battles, serious/controversial subject matter and all, you must leave the toilet humor to something else entirely.



Not every piece of music in Dexter’s Odyssey has to succumb to a bad hip hop tune. This isn’t a The Lonely Island sketch you’re producing. This is a live action/animated epic film project that contains a diverse network of cultures that are different than one another, despite being in an alternate world where toons, humans, and dinosaurs live, so be more appropriate and more subtle with the multi-cultural kinds of music you’re choosing—whether it’s from Europe, or from Africa or from the Far East.



Let the characters have more colors to them than just pink or green or purple or blue or black or red. Subtlety is your friend.





Even if Dexter’s Odyssey is an epic film project with raging battles, sweeping camera movements, rousing rescues and intense close-ups, Do NOT put in pop-cultural references just for the sake of pop-cultural references. They need purpose other than selling out something.



Seriously, I will not over-rely on using Hollywood celebrities for the voices of the toon characters in Dexter’s Odyssey, I mostly wanted Dexter’s Lab and Samurai Jack toon voices that should sound just like the originals but provided by actors who can go with the occasional comedy or drama.










These are the three conditions that Dexter’s Odyssey’s live actors—since they may especially be relative unknowns and non-professional no-names (some of them possibly from high school drama clubs and other youth programs) should follow under, but nonetheless I shall allow even those non-professional no name and relative unknown live actors to improvise their dialogue.

and finally,



I know debate is still raging over whether computer generated effects are better than those done practically or if you and I can truly beat the real thing, but Dexter’s Odyssey should provide room for all manner of special effects in the cinema. It should combine not only live action and traditional 2D hand drawn Genndy Tartakovsky-style animation but also cutting edge digital graphics, miniatures, animatronics, prosthetics and makeup and/or even plain old visual trickery. If it is magical, it should go in the movie, whether it shall spring from a hard-drive or from a 2D animator’s pencil, or shall take a team of dedicated artists months to create. Dexter’s Odyssey should be an equal opportunities live action/animation/special effects event.

Again, you and I don’t want to be too judgmental, but what do you think?


I love Dexter’s Laboratory and The Powerpuff Girls and Samurai Jack, for they are my three most favorite TV shows and cartoons of all time, as much as James Cameron’s 2009 3D Sci-Fi action film AVATAR is my most favorite movie of all time (mainly because out of all the recent movies that came out these days, James Cameron’s AVATAR has, even in 3-D, the most amazing visuals and prettiest colors imaginable).

Now, if I were a filmmaker, film director and even animation artist, I would love to pay homage to Genndy Tartakovsky, creator of Dexter’s Lab and Samurai Jack, especially in ways best suited to the US-based, Russian-born animation director’s talents.

In the case of my own projects, while it might use and share the same cartoon characters as Dexter’s Lab and/or Craig McCracken’s Powerpuff Girls, I would also be clear in my intention that my own big screen hand drawn animated epic feature film project, which may be called “The Princess of Shangara”, would be unrelated to the rest of any of those already-established cartoon franchises from the 1990’s.

Now, there had been talk of somebody doing a theatrical big screen live action movie based on any of my three favorite TV shows, Dexter’s Lab, Powerpuff Girls and/or Samurai Jack-but it would take me, if I were to be an animation artist and filmmaker and film director, to cast my unique vision of a three-part theatrical big screen hand drawn animated epic inspired not only by Dexter’s Lab, PPG and/or Samurai Jack, and especially characters from any of the former two shows but also by, among other sources, the tale of the legendary Ancient Chinese female warrior Mulan (besides Disney’s 1998 animated interpretation of that ancient Chinese legend).

In fact, in my interpretation of the Ancient Chinese legend and folk fable of Mulan, I should take the more nonmusical route than Disney’s Mulan.

In the case of my movie, “The Princess of Shangara”, there would not only be characters from Dexter’s Lab and/or PPG, but also some slight DNA from Genndy Tartakovsky’s work, especially on Dexter, PPG, and Samurai Jack. Fans of Dexter’s Lab, PPG, Samurai Jack and even Classic Cartoon Network may notice some things, especially during the funnier moments, and especially during the more action-packed moments and especially imagery inspired by those of  Genndy Tartakovsky, Craig McCracken, and other people who used to work on the likes of Samurai Jack, Powerpuff Girls and Dexter’s Laboratory and the like.

It won’t be like any other animated feature on the big screen, for I’m gonna use music, sound design, cinematic and epic storytelling and very stylized 2D and 3D backgrounds to create mood, atmosphere and real emotional depth (though done almost entirely in pantomime) as the three main characters travels.

I’m gonna set out to make my animated three-part epic, The Princess of Shangara, not only epic and cinematic in scope, scale or even length, but to also incorporate everything I wanted in a action film like this: action, humor, intricate artistry, and minimal dialogue, some of it in an invented language.

If I combine these elements with my unique visual style and enthralling storylines, I may bring the kind of high energy to the three movies which together would made up the single story of Princess of Shangara  and give audiences on the big screen something they had never experience before in live action or animated form on the big screen.

Even if The Princess of Shangara part I through part III should be made in Cinemascope widescreen, and even if the unique visuals of Princess of Shangara would contain lush, painterly 3D and 2D backgrounds and hand drawn cartoon characters drawn as solid colors without any thick black lines, I wanted The Princess of Shangara to be flat and highly stylized-a lot of lighting and mood-it would be a theatrical big screen hand drawn animated epic with very little dialogue (some of it in a invented language) and more about the action, simple stories and the three main characters.

The three main characters in The Princess of Shangara in my case would be Lilimaia (Dee Dee’s Asian Friend Lee Lee, as well as The Princess of Shangara of the title), Daphne (Dexter’s Sister Dee Dee) and Mikaela (Dee Dee’s African American friend Mee Mee).

And while simple, the concept and back-story of The Princess of Shangara would leave room for much layering:

Lilimaia (Lee Lee) is a proud and pure warrior maiden of few words who is as mighty, brave and noble as she is young, fair and beautiful, and who is prophesized to be the one to bring about the downfall of the evil Dark Lord Mandark.

Many ages before, Mandark is warned that a newborn Princess of Shangara bearing a special mark would grow up to dispose him. 6 months from the birth of just such a child, Lilimaia’s father, The King of Shangara, had sent her away to be raised by a Shangaran-born book merchant named Taikiroh, and to also study with her world’s foremost scholars as well as to be trained in martial arts and stuff.

Along the way, Lilimaia (who looks physically just like Dee Dee’s Asian friend Lee Lee) befriends two girls, Daphne (a blonde girl who is physically just like Dee Dee from Dexter’s Lab) and Mikaela (a black girl who is physically just like Dee Dee’s black friend Mee Mee), and in the course of the three girls’ travels, they encounters exotic and mythical civilizations, living dinosaurs and other living Mesozoic fauna that are Triassic, Jurassic and/or Cretaceous by age, fire-breathing dragons and half-lion, half eagle griffins, rugged, beautiful landscapes and primeval forests, and modern urban cityscapes with fantastic trappings.

Eventually, with the help of Mikaela, Daphne and Daphne’s estranged boy genius brother Odysseus (Dexter) who has a fully equipped secret lab beneath the mountains, Lilimaia fully understood that she must accept the responsibility of her destiny. And so, with her mind and body sharply honed, Lilimaia returns home a woman as mighty, brave and noble a warrior as she is young, fair and beautiful a maiden (sort of like the legendary Mulan), and ready to vanquish Mandark and his evil forces and end Mandark’s attempts of conquest and enslavement of her world as well as to end Mandark’s evil reign. And with the help of Lilimaia’s friends and Daphne’s brother, Lilimaia finally managed to defeat Mandark and assume the throne that is rightfully hers.

The Princess of Shangara is going to be epic, awesome, good, great, and even cool, just like if not even more so than Dexter’s Laboratory: Ego Trip and Samurai Jack, or would it?

I think Dexter’s sister Dee Dee’s Asian friend, Lee Lee, from the Cartoon Network Show, Dexter’s Laboratory, deserves an epic comeback role.

And I also think Lee Lee deserves her own epic vehicle as well as her own spectacular showcase.

How about “The Princess of Shangara”, a massive, elaborate, theatrical big screen Dexter’s Laboratory/The Powerpuff Girls-inspired animated cartoon epic tale of mythical, biblical and legendary proportions (and made in Panavision/Cinemascope) with Dee Dee’s Asian friend Lee Lee being the main central lead character as well as the title character: a heroic warrior princess from the land of Shangara (a Far Eastern Asian/Chinese/Japanese-influenced land, complete with its own language, culture, customs, art, and lore) who is as mighty, brave, and noble as she is young, fair, and beautiful, and who, according to an ancient prophecy, is destined to stop the evil Mandark from conquering and enslaving the world.

That’s my wish for Dee Dee’s Asian Friend Lee Lee.

Do you remember the Dexter’s Laboratory Made-For-TV special-cum-movie, Ego Trip?

Well, I do remember Dexter’s Laboratory: Ego Trip. I have once seen it on New Year’s Day 2011 at 7AM on Cartoon Network in my basement.

And I like that movie besides James Cameron’s 2009 science fiction 3D extravaganza, AVATAR, or one of Dreamworks’ better CGI flicks, How to Train Your Dragon (2010), but nothing in Ego Trip or AVATAR is as epic as the climatic battle that pits Dexter and his future selves against Mandark and his future selves in Dexter’s Laboratory: Ego Trip, or what James Cameron describes as “The Mother of All Battles”, the Climatic War-Cum-Battle that pits Jake (as Toruk Makto, aka Rider of Last Shadow), Neytiri, Tsu’Tey, the Na’vi clans, Norm, Trudy Chacon, and The wildlife of Pandora (a Leonopteryx, Banshees, Direhorses, Hammerheads, Viperwolves, Sturmbeests, and last but not least, the Thanator that Neytiri rides in battle against Quaritch in his AMP Suit), against Quaritch and the so-called “Sky People” (and especially those in AMP Suits, too, especially Quaritch) in James Cameron’s AVATAR.

But alas…there is a difference between Dexter’s Laboratory: Ego Trip and James Cameron’s AVATAR and both scenes from both movies.

You see, while the Na’vi of James Cameron’s AVATAR had come across as Performance Capture CGI and brought to life from actors’ performances such as those of Sam Worthington, Laz Alonso and Zoe Saldana…

Dexter, with Dexter and Dexter and Dexter…

and Mandark with Mandark and Mandark and Mandark…

 as well as Dee Dee herself…

 are only 2D traditional hand drawn animated cartoons.

 And while James Cameron’s AVATAR is made for movie theatres and in 3D and runs between 162 and 180 minutes…

Dexter’s Laboratory Ego Trip is just a one-hour Dexter’s Laboratory made-for-TV special-cum-movie.

But anyway, I love both Dexter’s Laboratory (and Ego Trip as well) and James Cameron’s AVATAR.

What did you think of the climatic battle scenes in Ego Trip and Avatar (the James Cameron Movie), respectively? Which one is superior? Which one is better? Which one is funny? Which one is violent and grown up? And how do you compare and contrast the climatic battle scene in Ego Trip with the climatic battle scenes in James Cameron’s AVATAR?

Here is Dexter’s sister Dee Dee’s Asian friend, Lee Lee, clad in a full suit of Samurai armor, and as a mighty and heroic warrior princess girl, aka “The Avatar” and “The Princess of Shangara” who will be rather like a young 11-year-old female version of Samurai Jack, or in other words, an 11-year-old version of the legendary Chinese warrior maiden named Mulan, but not, as originally created for Dexter’s Lab, the idiotic girl who love cutesy stuff and toys as well as ballet, and who, along with her friends, Dee Dee and Mee Mee, would not actually fight crime (as in the Dexter’s Laboratory Charlie’s Angels Parody and Spoof, G.I.R.L. Squad), riding what looked like a winged, fire-breathing dragon.

And just in case no one really get it, the artwork piece is a reference to, and is similar to this:

But with the heroine riding a dragon instead of a horse.

So, what do you think of my depiction of Dexter’s Sister Dee Dee’s Asian friend Lee Lee?


This may also be unusual but…

Can you imagine what it might be like if Dexter’s Nemesis, Mandark of Dexter’s Laboratory fame…

…as a cruel, powerful, and utterly evil dark lord wizard being (in the case of my Dexter’s Lab movie idea, the epic Dexter’s Odyssey saga), should use his great, terrible magic to transform himself into a huge monstrous dragon like this?

(Note to self: the Red Death dragon from Dreamworks’ How to Train Your Dragon (2010) is what Mandark should look like in the form of a huge, monstrous dragon)

Well, even if Dexter’s sister DeeDee’s Asian friend, LeeLee (as a mighty and heroic warrior princess girl who will be rather like a young 11-year-old female version of Samurai Jack, or in other words, an 11-year-old version of the legendary Chinese warrior maiden named Mulan, but not, as originally created for Dexter’s Lab, the idiotic girl who love cutesy stuff and toys as well as ballet, and who, along with her friends, Dee Dee and Mee Mee, would not actually fight crime (as in the Dexter’s Laboratory Charlie’s Angels Parody and Spoof, G.I.R.L. Squad).)…

as well as Dexter himself…

…well, what would you say if Mandark turns himself into a huge, monstrous dragon to fight Dexter and his sister DeeDee’s Asian Friend LeeLee to the death?

Do you know what are three of the most fully-developed fictional languages ever heard or spoken?

Well, I’ll tell you.

Three of the most fully-developed fictional languages ever spoken or heard are as followed:

First of all, there is the language of the Klingons, who are regarded by the peace-loving denizens of the Star Trek universe, as intergalatic trouble-makers ever since the original TV show’s brief run in the 1960’s. However, it wouldn’t be until the 1984 movie, Star Trek III: The Search for Spock, that those pesky alien race of the Star Trek universe known as Klingons were significantly and permamently redesigned, complete with a language and alphabet to go with their new visual style.

The Klingon Language was developed by some guy by the name of Marc Okrand,  whose study in languages included obscure or dead languages, especially those from Native American Indians, and who was hired by the folks at Paramount Pictures as well as director Leonard Nimoy, aka Mr. Spock himself, to both create the language as well as coaching the actors in speaking such an alien language.

The following year, right after Star Trek III: The Search for Spock came out, Marc Okrand published The Klingon Dictionary, the best Klingon Language resource ever, especially for you guys wanting to learn how to speak the language of the Klingons. That very book covers many features of the Klingon Language:

A. Klingon Alphabet 

B. Klingon Syntax

C. Basic Klingon Grammar and translation of the Klingon Language


D.  How to speak popular Klingon phrases like “Surrender or die!”

Marc Okrand has another Klingon Language book: Conversational Klingon, an audiobook in which co-narrator Michael Dorn, aka Worf of Star Trek The Next Generation, help Klingon Language Students hear how the Klingon words are meant to sound.

And Don’t forget The Klingon Language Institute; “Making people learn how to talk like a Klingon Warrior since 1992”

The Klingon Language Institute, or KLI, for short, has writing and speaking guides for newbies of the Klingon Language, info on how to subscribe to the group that is KLI and get access to even more Klingon-based language tools.

Trust me, it’s THE made-up language, THE BIG ONE, the Queen-Mother or King-Father or Granddaddy of all Made-up languages!

If you want to learn a fictional tongue like the Klingons’, get a great place to start, like the Klingon Language!

Second of all, it’s not suprising that you can actually learn and study the language of the Elves of Lord of the Rings by J.R.R. Tolkien.  Tolkien is such a philologist, that he knew his way around linguistics as well as the construction of languages like Elvish.

He did not just interpret gibberish statements for all his characters, nor did he just back-translate the sentences of his characters, but Tolkien actually created a horde of languages for his works.

If you ever plunge yourself into the appendices of Lord of the Rings, and if you ever tackle  the  history of Tolkien’s fictional realm of Middle-Earth,  known as the Simarillion, I appreciate it if you discover just how detailed the languages are, even to Tolkien.

And in actuality and fact, There are many likes of the Elvish Languages, Quenya and Sindarin being the most notable examples.

You wanna know how to learn, study or speak the two versions of Elvish known as Quenya and Sindarin?

I have a solution for you. Check out Tolkien’s printed works, or maybe Wikipedia, or maybe even a growing number of print and online resources that would make any of you guys dig in and learn a elegent but complicated constructed language like Elvish’s two versions, Quenya and Sindarin like:

A. English to Elvish Dictionary

B. The Languages of Tolkien’s Middle-Earth


C. A Gateway to Sindarin

Finally, there is the Na’vi language of James Cameron’s Avatar fame.

Now Avatar, the James Cameron movie, but not the Nickelodeon show subtitled “The Last Airbender”, is currently the biggest and highest grossing movie ever released, not only in the United States, but also internationally. And it’s still in the top 20 of all time, even if it is adjusted for inflation. You ain’t gotta become no popular without some die-hard fans by the name of the Avatards.

The alien race, and the indigenous big blue people of Pandora, the world of James Cameron’s scifi actioner are called The Na’vi, who also have a constructed language made for the movie by some guy who holds a docorate in lingustics by the name of Paul Frommer. Jimmy wanted to create a real, and I repeat, REAL, but constructed, fictional language that would also be easy enough to pick up that humans like Jake Sully, Dr. Grace Augustine, and Norm Spellman (the latter two of whom spoke the language for the first time in audiences’ ears 15 minutes into the movie, that is, more accurately, 15 minutes  in the Collector’s Extended Cut on Blu-Raywith an alternate opening on Earth, complete with a fight in a bar. Here’s the English translation for the first dialogue ever heard in Na’vi during the movie, spoken by Dr. Grace and Norm:

Norm (in Na’vi): May the All Mother smile upon our first meeting

Dr. Grace (in Na’vi): Not bad. You sound a little formal.

Norm (again, in Na’vi): I studied for five years, but there is much to learn.

So there!) could concievably learn such a language, so although there is only a vocabulary of of a thousand words in Na’vi, Paul Frommer did invent an entire Na’vi Language.

Ever since my big night out with my mom, my older brother, and my aunt, first to eat at Outback Steakhouse, and then going up to an IMAX 3D theatre in White Marsh in Baltimore County in Maryland to “come face-2-face with da Na’vi!” in IMAX 3D somewhere between late Thursday night December 17, 2009, and early Friday morning December 18, 2009, there are certain fans rallying to build resources on how to learn the language of the Na’vi and go deeper into their world.

So I have three choices:

A. Learn the Na’vi language at

B. Read Paul Frommer’s Na’vi language primer for newbies of the Na’vi Language at


C. Check out James Cameron’s AVATAR: A Confidential Report on the Biological and Social History of Pandora, aka the AVATAR Activist Survival Guide,  for more history of the world of James Cameron’s AVATAR.

What is your favorite out of three of the most fully-developed fictional languages ever heard or spoken?

Either the Klingon language, Elvish Quenya and Sindarin, or The Na’vi Language?

The Choice is yours.

Finally, last but not least, and in closing…

What if for my Dexter’s Laboratory movie idea, a big screen live action/traditional 2D animated special effects-driven fantasy adventure epic movie saga by the name of Dexter’s Odyssey, What if this girl:

Lee Lee, the Asian friend of Dexter’s Sister Dee Dee, should also  use, as well as speak a fully-developed, and real but constructed, fictional, and made-up language and alphabet that should contain a mixture of Chinese and Japanese regional dialects, tongues, alphabets and even writing systems, known as Shangaran, a language spoken by her native people in the Far East/China/Japan-inspired-and-influenced realm of Shangara, which will also be the land leading the fight against the evil forces of Mandark, Dexter’s nemesis, and in Dexter’s Odyssey, a cruel, powerful, and utterly evil Dark Lord being, who according to an ancient prophecy, Dee Dee’s Asian friend, Lee Lee, as a mighty and heroic warrior princess girl and Dexter’s protector, and who will rather like a young female version of Samurai Jack, or in other words, rather be like  the legendary Chinese maiden named Mulan, but not the idiotic girl who who loves cutesy stuff and toys and even ballet, and, among other things, would not actually fight crime like Dee Dee and Mee Mee (as in the Dexter’s Laboratory Charlie’s Angels parody and spoof, G.I.R.L. Squad), as originally created, is to destroy, along with Mandark’s evil reign and power?

And what if the Shangaran language and alphabet used byDexter’s sister Dee Dee’s Asian Friend Lee Lee..that very fully-developed, and real but constructed, fictional, and made-up language and alphabet  of my own that should contain a mixture of Chinese and Japanese regional dialects, tongues, alphabets and even writing systems…should be up there with the Klingon, Elvish, and Na’vi Languages as one of the most fully-developed fictional constructed language ever spoken or heard?