/soy/ - Soyjaks

>3) Entrenchment in material reality
Author Lisa Vandenberg claimed having modeled her pilot's plot after a childhood memory of her own, when she thought she would die poisoned drinking mouthwash by accident.
Colorado state education on her Linkedin account as well as other clues collected from her social networks strongly corroborate the run down Rocky Mountains trailer park setting depicted in Mouthwash Madness may reflect her upbringing.
It becomes henceforth obvious that Lisa tried reconstructing her childhood environment as accurately as possible, thus bringing back from the material world into fiction a testimony way too often ignored (excepted as caricature and/or derision) in mass entertainment due to Hollywood's nepotistic nature.

Akin to Ghibli's practice, settings in Mouthwash Madness are not only a background for actions to take place in but a living surrounding swarming with life and histories to tell. Plates have been eaten and barely hidden below furniture beforehand, sleds have been played with and left on a wall to dry, Turkeys have been cut in paper and sticked to a fridge for a Thanksgiving that happened way before the short. None of these are explained or justified because Vandenberg bets on viewers ability to understand by themselves, furthermore if they lived similar childhood.

For an entire generation of single parent kids stemming from late 90's divorce epidemic, Mouthwash Madness is a form of bitter but useful nostalgia bringing forth memories of days they had to fend for themselves in a lonely home while mom was out working to feed them.
Sons and daughter of the 2008 subprime crisis recognize Mouthwash Madness as an almost to accurate depiction of their own relationship with siblings away from any adult supervision. True enough to avoid filtering yet avoiding unnecessary vulgarity for the sole sake of provocation, as adult animation too often does.

High effort autist troon bait

Michael these people underage that's not okay.

In order to tone down this almost documentary aspect. Mouthwash Madness's cartoonishness is reduced to subtle yet omnipresent sound effects. Rythm, athmosphere and characterisation is rendered solely through sound design, always one tone below speech level, thus avoiding need for a musical score that would divert viewers attention.

>4) Wide set of influences
Despite it's seemingly childish and simplistic facade, Mouthwash Madness is a tribute to its development team's knowledge range.

Marie and Bess's (Elizabeth) names directly reference Biblical Visitation (Luke 1:46), both women carrying the same thing in their womb, namely mouthwash instead of babies, and bonding over it.
Explicit use of Schubert's Ave Maria (op.52 no.6) lead into that direction.

These names also bring to mind Louisa Mary Alcott's classic "Little Women" about four sisters of opposite characters dealing with an impoverished household, illness and the constant threat of death.

All the while not telling a horrific plot, "Mouthwash Madness" directly reference horror movies staging conventions, as an affectionate homage rather than to mock them.
Title is a deliberate pun on John Carpenter's 1994 film "The Mouth of Madness". Setting and atmosphere subtely spoof cabin fever genre codes, such as "Evil Dead" or "Shining". All the way down to small notes of eerie musical ambientation to better suggest underlying thrill.

Ann's possession bring an inkling of supernatural into otherwise mundane events, which has always been the mark of classical Fantastique category as defined by Maupassant two centuries ago before becoming slowly dilluted into Gothic horror by Hammer Production Ltd.

Thus it should be clear for anyone that Mouthwash Madness not only should be turned into an animated series, but that it was also intended as such and most certainly will.

So is this supposed to look like a retro 80s cartoon

You tell
https://www.youtube.com/watch?v=YjgOlUl0ehs

uppi