It has begun. Our celebration of the 25th anniversary of X-MEN:TAS kicks off in nine days at COMICFEST in San Diego. Mike Towry and his crew have been nice enough to set up FIVE panels that in some way honor our series. Julia and I and Producer/Director Larry Houston (see photo) plan to attend ALL of the panels. The specific guests and topics follow.
SATURDAY, FEB. 18
11:00am: “X-Men, Lies, and Videotape” — writers Dave McDermott & Steve Melching
2:00pm: “X-MEN:TAS – Creative Round Table” — ALL OF US
3:00pm: “X-Men Mock Trial on Human Rights” — Legal Geeks & Some of Us
SUNDAY, FEB. 19
10:00am: “Nightcrawler” — writer Len Uhley
3:00pm: “Days of Future Past” — writer Julia Lewald
To quote Joe E. Brown from the movie Some Like it Hot: “Well, nobody’s perfect.” We had a tight schedule and a tighter budget on X-MEN:TAS. Some big animated series (at Disney, Warners, etc.) have the time and money to try all sorts of stories, develop them to script, see which ones everybody likes, then toss the ones they don’t. We didn’t have that luxury. The one-line ideas that were chosen were going to get made — we on the writing staff just had to make sure the 40-page scripts all came out well. Well, 76 out of 77 did. The one exception was a hard-edged episode set in rural Russia called “Bring Me Charles Xavier.” Many note-givers raised concerns early, at the premise and outline stages, like they are supposed to. But I liked the story and bull-headedly pushed it and the writer through to a couple of versions of the script — only to be told that no, many of my colleagues still didn’t like the story. So, after many weeks of trying, it was gone. I appologized to the writer, got him paid, and faced one of the heaviest repsonsibilities that the showrunner has in our corner of the business. Production needed a 40-page script to keep their schedule, so I wrote a completely new one over the weekend. Below are the would-be adversaries and the cast page from the abandoned script. Too bad : looks like it could have been fun.
The first season of X-MEN:TAS we got away with something rarely seen in American animated television: we showed a continuing story set over 13 episodes. For us to be allowed to do this was a tough fight since every business interest invovled worried that delays unique to animation could make us miss our planned air dates. In the end they were right, and our connected storytelling cost them a lot of money. They made much more when the series became a hit, of course, but the damage had been done: no more connected stories. Occasional multi-parters might be okay (we pushed that hard), but episodes must STAND ALONE. Well, we cheated. We gave the network a two-part episode, then nine “stand alone” episodes, then a two-parter. The trick was that the final two-parter resolved a problem (Xavier and Magneto kidnaped together) that we had set up in the opening story, and the nine episodes in-between all “touched base” with the kidnaped characters. So to our audience, it felt like a continuing story. This continuing background “B story” seemed to knit it all together. I’m not sure what would have happened if the middle episodes had been shown out-of-order. Our theory was that they would still make sense that way. Perhaps we one day will make an experiment — starting with eps. 14/15 (“Till Death Do Us Part”), then mixing up episodes 16-24 at random, then concluding with the planned season finale of 25/26 (“Reunion”). Or maybe some fans could make a weekend of it and let us know the results. In any case, apologies to our network for bending the rules. But we like the results.
The production of X-MEN:TAS had to be patched-together to be able to happen. With sister series BATMAN:TAS, it was just: “Hey big studio Warner Brothers — you wanna do a Batman series? You do? Done.” Nothing so simple for X-Men. The TV network (Fox) wanted an animated X-Men even more than Batman. But they needed to find someone to take the risk and responsibility to produce it. Saban stepped forward — they knew how to market and package TV series, but they didn’t have a big production staff. Graz Entertainment was set up by veteran producers and crew to handle most of the art, design, and production supervision. A studio in Korea (AKOM) was chosen to do the hands-on animation work. Marvel Comics didn’t know TV production, but it was their property, so they were on-board as a partner. All this made for a VERY busy Christmas crew jacket handed out to many of us (see below) in 1993. I also believe, sadly, that the existence of this thrown-together partnership was the major reason that the series just kind of petered out. Warners (which owns DC comics) will always renew a Batman series in some form: they have a 100% interest in them. But Marvel and Fox and Saban and all the other X-Men partners that made our show happen ended up drifting on to other interests. Budgets dropped, episode orders dwindled, and we all found ourselves going our separate ways. Oh, well… still got the jackets.
Thanks for the reaction to the announcement of our X-MEN:TAS book, due out next year. Ten times the usual number of people checked out this site over the past 24 hours. Well, if you’re looking forward to the book, please know that you can BE PART OF IT. There is going to be a chapter made up of testimonials. We’ve published two already on this blog — memories of what watching X-MEN:TAS has meant to you. Some people gained courage from the mutants’ struggles. Some gratified viewers became animators or cartoonists or philosophy majors (Beast fans). Others simply felt a connection to a group of characters that they had experienced nowhere else in their lives. A number of authors have mentioned being inspired by the storytelling (humbling praise indeed). Attached is a quote from the biography of Stephanie Meyer, the author of the much-loved “Twilight” series of books. Artists and craftsmen hope their work can reach people. Animation writers and artists tend to work alone or with a couple of friends and rarely do we experience that “connection,” with those who are affected by our efforts, that all creative workers strive for. So, if X-MEN:TAS has meant something to you, please write us about it at firstname.lastname@example.org. We will publish a variety of them, short or long, in the book.
Welcome to xmentas.com.
Today marks the beginning of what we hope will be a long, shared adventure.
On February 17th, 1992, we were assigned the job of creating and managing X-MEN: The Animated Series. Few had faith that it would succeed. Other Marvel TV series hadn’t. Time and money were short. But thanks to luck and Fox Kids Network president MARGARET LOESCH, the right people were thrown together and supported and a new vision for an animated TV series was preserved. Veteran artist-producers WILL MEUGNIOT and LARRY HOUSTON knew how an X-Men show needed to look, move, and sound. Head writer MARK EDENS and I knew what kind of stories we needed to tell. Supervising executive SIDNEY IWANTER wouldn’t let us slack off.
We six, and the dozens of gifted cast and crew who made X-MEN: TAS what it is, will contribute memories and images from our personal collections to try to share with you, the fans, what it was like to make a show that has earned so much of your affection. Though new work continues to occupy all of us, most of us will be able to try to respond to questions if you have them.
My wife, X-MEN: TAS writer Julia Roberts Lewald is the driving force behind this site. Helping us will be our niece Rev Wiederspahn and friend Taylor Faust.
For the next few days we will be renewing friendships at the San Diego Comic Con, where many of us first discussed X-MEN: TAS in a 1993 panel. After we return, we will commit to a more consistent daily posting of new material. For today, I would like to start near the beginning, with an image or two from the first episode and the note that I wrote the prospective writers about what kind of show we needed X-MEN: TAS to be. This material is from my personal archive. Please enjoy.