It’s certainly refreshing to know that within our hyper post-modern age - where every aspect of our culture, faith, religion, and personal taste seems to be brought under an electron microscope and carefully scrutinized for its flaws - one can often forget the simple joys of being engrossed in a classic story that isn’t too mired in our current geopolitical environment.
Of course, this sort of reprieve isn’t exactly exclusive to our own generation. But it’s certainly relevant when considering each of us and our needs for an occasional escape from life, so that we can deal with all its problems the more sensibly - whether that be in our moment-to-moment obstacles throughout the day, or simply just finding a refreshing outlook.
For me, personally, one of the most profound and recent examples of this occurrence happening is through none other than Genndy Tartakovsky’s animated series - Primal.
Being first aired in the Fall of 2019, and now going on to sport an assortment of twenty episodes, spread out across two seasons, Primal deals with our characters Spear and Fang, a caveman and T-Rex, respectively, as they embark on several misadventures throughout a prehistoric world full of giant beasts, ape-men, supernatural phenomena, and more.
That premise in itself would seem compelling enough, but what deepens my interests is that not a single line of dialogue is uttered from our characters; save, of course, for the occasional grunt or shout of rage. Coupled with this is a vibrant animation style that never fails to impress in its usage of colors and movement. Humans and abominations, alike, are each given creative ways in moving from Point A to Point B; which is good, considering that things are always moving in Primal.
All of this combines to form a story which I think bears more than a passing resemblance to the classic pulp stories of old - tales by Robert E. Howard, Edgar Rice Burroughs, and H.P. Lovecraft being among the most notable examples.
In fact, one might even argue that Primal is little more than a crossing between Conan the Barbarian and Tarzan, with a healthy dose of dinosaurs thrown in for good measure. Yet I think that these influences go far beyond just the surface level, as both combat and survival are key elements to the series; and it’s often that Spear and Fang must use both their might and wits to outmaneuver their opponents, otherwise overcome what may seem at first insurmountable odds.
In Primal, the stakes are always high. And often the way forward is one paved in blood.
Combat never fails in remaining visceral, as limbs are often ripped away just as much as they’re severed with the blade. Additionally, enemies are skewered with spears, dashed with boulders, chest cavities torn asunder by claws and teeth and talons. Usually when someone or something dies at the hands of our heroes, it is often in the most violent and brutal way possible. And when compared to some of Tartakovsky’s other works, such as Dexter’s Laboratory and The Powerpuff Girls, this contrast is only further enhanced with the addition of an R-rating.
The soundtrack illustrates this sort of energy just as well, as a dull synthetic drone helps to establish a sense of dread with perfect alacrity. Wide-spanning shots of nature are also commonplace, and the occasional moment of silence only helps to punctuate the more poignant moments in-between.
But that is not to say that the series is limited exclusively to its setting of dinosaurs and wooly mammoths. For just like many of the Conan stories before it, time and place are both in a matter of flux here. Medieval knights often appear in the same narrative breath as that of Roman legionaries, along with gorillas fighting over their proper fix of bath-salts (no, I’m not kidding).
And lastly, as in pulp tradition, there emerges the subject of horror, of which Primal is also no stranger. Many horrific creatures of the night appear throughout both Spear’s and Fang’s many ventures, including that of sinister witch covens, fiery golems, and the occasional murderous carnivore, just to name a few. In my opinion, these moments never outstay their welcome. In fact, some even appear to hold vague parallels with older tales of Solomon Kane along with H.P. Lovecraft’s esteemed bibliography.
Yet the influences, I believe, aren’t just felt within the realm of pulps. For there also appears to be the occasional nod to Frank Miller’s 300, along with some sugar-and-spice added from Tartakovsky’s previous animated endeavors.
However, it’s not just a matter of veiled references which imbue this series with its sense of life and energy. At its core, Primal is a story about striving against the odds, the endurance to hold true to oneself in the face of defeat, and lastly, to see what wonders (and horrors) life can hold around the corner.
In essence, it is savage. It is pulp.
It’s Primal.
The Savagery of 'Primal'
Sounds like it's up my alley. Thanks for the recommendation, I'll be giving this a look.