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The Real Adventures of Jonny Quest
The Real Adventures of Jonny Quest (also known as Jonny Quest: The Real Adventures) is an American animated television series produced by Hanna-Barbera Cartoons and broadcast on Cartoon Network from August 26, 1996, to April 16, 1997. It is a continuation of Jonny Quest (1964) and The New Adventures of Jonny Quest (1986) and features teenage adventurers Jonny Quest, Hadji Singh, and Jessie Bannon as they accompany Dr. Benton Quest and bodyguard Race Bannon to investigate strange phenomena, legends, and mysteries in exotic locales. Action also takes place in the virtual realm of QuestWorld, a three-dimensional cyberspace domain rendered with computer animation. Conceived in the early 1990s, Real Adventures suffered a long and troubled development.
Hanna-Barbera dismissed creator Peter Lawrence in 1996 and hired new producers to finish the show. John Eng and Cosmo Anzilotti completed Lawrence's work; David Lipman, Davis Doi, and Larry Houston wrote new episodes with reworked character designs akin to those of classic Quest. Each team produced half of the show's fifty-two episodes. While Lawrence's team crafted stories of real-world mystery and exploration, later writers used science fiction and paranormal plots. Turner supported the show through a massive marketing campaign with thirty-three licensees. Real Adventures debuted with an unprecedented wide release on Cartoon Network, TBS, and TNT, airing twenty-one times per week. Critics have debated the show's animation, writing, and spirit compared to classic Quest, but it has also received praise for these same reasons.
Real Adventures failed to gain high ratings with its target demographics, and its merchandise performed poorly, leading to its cancellation after fifty-two episodes. Since the show ended, reruns have aired on Toonami, CNX, and other Turner networks. Turner Home Entertainment and Warner Home Video have released eight VHS tapes and two laserdiscs, and all 52 episodes are available on DVD and for digital purchase on the iTunes Store.
Hanna-Barbera created The Real Adventures of Jonny Quest in the early 1990s after being acquired by Turner Broadcasting System. Turner planned a series of year-long "Turner-wide initiatives" to capitalize on old characters and create new franchises. Turner received copious fan mail and phone inquiries about Quest and observed "incredibly high" marketing Q Scores. The show was also Hanna-Barbera's most popular venture into the action-adventure genre; no other contemporary series featured realistic children going on lifelike adventures. With William Hanna and Joseph Barbera's blessings, the company planned a new series, a live-action film, and two telefilms—Jonny's Golden Quest and Jonny Quest vs. The Cyber Insects. Combined with a substantial marketing campaign, the project would be their largest initiative since Turner acquired H-B. Turner Home Entertainment President Philip Kent claimed Quest would be a "consumer-products bonanza", and the company considered Real Adventures the linchpin of the Quest revival. Real Adventures, the live-action film, and the release of classic episodes on VHS would constitute a "Year of Jonny Quest" marketing blitz. The product was delayed until 1996 and echoed 1994's "Year of the Flintstones" (complimenting the feature film adaptation released in theaters that year) and 1995's "Year of Yogi Bear". Production on Real Adventures commenced in 1993. Turner hired a team led by director Dick Sebast, writer Peter Lawrence, and art director Takashi Masunaga. The firm appointed Stephanie Sperber head of the Quest task force in 1994.
Hanna-Barbera President Fred Seibert allowed Lawrence to create a new team of companions for Jonny, but Lawrence chose to bring back the original group. Sebast and Lawrence decided to make the series as realistic as possible through accurate physics and depictions of machinery. Lawrence emphasized believability, eschewing "ridiculous ...laser guns" for real sidearms. The creative team researched child psychology to ensure they could depict realistic action and consequences without fueling nightmares. Seibert touted Quest as the "Home Alone of adventure", with "high-tech, multicultural themes" that would appeal to contemporary youth. Promoters promised the new Quest would avoid "mindless violence, chauvinism, xenophobia and insensitivity", addressing historical criticisms of the classic series. Turner also claimed that Quest would appeal to either gender, stating, "Traditionally, action adventure animation may be stronger with boys, but in this case, storylines are being developed to draw girls in ... we're really hoping for a wide berth of viewership." Seibert further described the show's theme as "The X-Files for kids", citing that difficult questions and mysteries would be posed in each episode. Departures from the classic series included new character designs and the introduction of a new character to the Quest family. Takashi designed Jonny to be "edgy and handsome" and rendered characters in the style of Japanese animation to differentiate from American superhero cartoons. The team used a new character—Race's daughter, Jessie Bannon—to create conflict with Jonny. She was introduced in Jonny's Golden Quest as Race's daughter by Jezebel Jade. Lawrence initially titled the show Jonny Quest's Extraordinary Adventures, but the title changed in 1995 to its final name.
Intended for a 1995 release with 65 episodes, Real Adventures fell into development hell; roughly 30 scripts and only eight reels were in progress by March 1995. Production problems had been reported as early as January 1995; after eighteen months of production, Hanna-Barbera removed both Lawrence and Takashi in 1996, hiring John Eng and Cosmo Anzilotti to finish the first twenty-six episodes. Certain sequences necessitated exhaustive work and heavy revision. A new team led by David Lipman, Davis Doi, and Larry Houston finished twenty-six more episodes for broadcast as a separate series named The New Jonny Quest. Time Warner's acquisition of Turner negated this plan, leading to the episodes' release as the second season of Real Adventures.
Peter Lawrence aimed to "go beyond cartooning and into animated film-making" for the show's storytelling. Producers contracted seven studios to animate the first season, including Pacific Animation Corporation in Japan and Toon's Factory in France. Japanese and Korean animators drew traditional cel sequences and added color; an international team handled digital post-production and QuestWorld scenes. Teva, a subsidiary of Total Group, organized a post-production team in Paris, led by Eric Jacquot, Gilles Deyries, and Pascal Legeay. Using video post-production high-end specialized tools, including Henry, Spirit, Flame, and others, the team strove to deliver a high-speed computer editing and post-production process. The majority of the first season's footage was digitally inked and painted to enhance background elements. Producers applied the process in excess of twenty hours per episode, adding light effects, rain, snow, glitter, reflections, and fog.
Hanna-Barbera implemented a new computer system to combine manual animation with digital paint and to provide camera movement flexibility, which created a partial three-dimensional effect. Takashi felt the system made the creative team "honest filmmakers" through hands-on production. Lawrence described the system in 1995:
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The Real Adventures of Jonny Quest
The Real Adventures of Jonny Quest (also known as Jonny Quest: The Real Adventures) is an American animated television series produced by Hanna-Barbera Cartoons and broadcast on Cartoon Network from August 26, 1996, to April 16, 1997. It is a continuation of Jonny Quest (1964) and The New Adventures of Jonny Quest (1986) and features teenage adventurers Jonny Quest, Hadji Singh, and Jessie Bannon as they accompany Dr. Benton Quest and bodyguard Race Bannon to investigate strange phenomena, legends, and mysteries in exotic locales. Action also takes place in the virtual realm of QuestWorld, a three-dimensional cyberspace domain rendered with computer animation. Conceived in the early 1990s, Real Adventures suffered a long and troubled development.
Hanna-Barbera dismissed creator Peter Lawrence in 1996 and hired new producers to finish the show. John Eng and Cosmo Anzilotti completed Lawrence's work; David Lipman, Davis Doi, and Larry Houston wrote new episodes with reworked character designs akin to those of classic Quest. Each team produced half of the show's fifty-two episodes. While Lawrence's team crafted stories of real-world mystery and exploration, later writers used science fiction and paranormal plots. Turner supported the show through a massive marketing campaign with thirty-three licensees. Real Adventures debuted with an unprecedented wide release on Cartoon Network, TBS, and TNT, airing twenty-one times per week. Critics have debated the show's animation, writing, and spirit compared to classic Quest, but it has also received praise for these same reasons.
Real Adventures failed to gain high ratings with its target demographics, and its merchandise performed poorly, leading to its cancellation after fifty-two episodes. Since the show ended, reruns have aired on Toonami, CNX, and other Turner networks. Turner Home Entertainment and Warner Home Video have released eight VHS tapes and two laserdiscs, and all 52 episodes are available on DVD and for digital purchase on the iTunes Store.
Hanna-Barbera created The Real Adventures of Jonny Quest in the early 1990s after being acquired by Turner Broadcasting System. Turner planned a series of year-long "Turner-wide initiatives" to capitalize on old characters and create new franchises. Turner received copious fan mail and phone inquiries about Quest and observed "incredibly high" marketing Q Scores. The show was also Hanna-Barbera's most popular venture into the action-adventure genre; no other contemporary series featured realistic children going on lifelike adventures. With William Hanna and Joseph Barbera's blessings, the company planned a new series, a live-action film, and two telefilms—Jonny's Golden Quest and Jonny Quest vs. The Cyber Insects. Combined with a substantial marketing campaign, the project would be their largest initiative since Turner acquired H-B. Turner Home Entertainment President Philip Kent claimed Quest would be a "consumer-products bonanza", and the company considered Real Adventures the linchpin of the Quest revival. Real Adventures, the live-action film, and the release of classic episodes on VHS would constitute a "Year of Jonny Quest" marketing blitz. The product was delayed until 1996 and echoed 1994's "Year of the Flintstones" (complimenting the feature film adaptation released in theaters that year) and 1995's "Year of Yogi Bear". Production on Real Adventures commenced in 1993. Turner hired a team led by director Dick Sebast, writer Peter Lawrence, and art director Takashi Masunaga. The firm appointed Stephanie Sperber head of the Quest task force in 1994.
Hanna-Barbera President Fred Seibert allowed Lawrence to create a new team of companions for Jonny, but Lawrence chose to bring back the original group. Sebast and Lawrence decided to make the series as realistic as possible through accurate physics and depictions of machinery. Lawrence emphasized believability, eschewing "ridiculous ...laser guns" for real sidearms. The creative team researched child psychology to ensure they could depict realistic action and consequences without fueling nightmares. Seibert touted Quest as the "Home Alone of adventure", with "high-tech, multicultural themes" that would appeal to contemporary youth. Promoters promised the new Quest would avoid "mindless violence, chauvinism, xenophobia and insensitivity", addressing historical criticisms of the classic series. Turner also claimed that Quest would appeal to either gender, stating, "Traditionally, action adventure animation may be stronger with boys, but in this case, storylines are being developed to draw girls in ... we're really hoping for a wide berth of viewership." Seibert further described the show's theme as "The X-Files for kids", citing that difficult questions and mysteries would be posed in each episode. Departures from the classic series included new character designs and the introduction of a new character to the Quest family. Takashi designed Jonny to be "edgy and handsome" and rendered characters in the style of Japanese animation to differentiate from American superhero cartoons. The team used a new character—Race's daughter, Jessie Bannon—to create conflict with Jonny. She was introduced in Jonny's Golden Quest as Race's daughter by Jezebel Jade. Lawrence initially titled the show Jonny Quest's Extraordinary Adventures, but the title changed in 1995 to its final name.
Intended for a 1995 release with 65 episodes, Real Adventures fell into development hell; roughly 30 scripts and only eight reels were in progress by March 1995. Production problems had been reported as early as January 1995; after eighteen months of production, Hanna-Barbera removed both Lawrence and Takashi in 1996, hiring John Eng and Cosmo Anzilotti to finish the first twenty-six episodes. Certain sequences necessitated exhaustive work and heavy revision. A new team led by David Lipman, Davis Doi, and Larry Houston finished twenty-six more episodes for broadcast as a separate series named The New Jonny Quest. Time Warner's acquisition of Turner negated this plan, leading to the episodes' release as the second season of Real Adventures.
Peter Lawrence aimed to "go beyond cartooning and into animated film-making" for the show's storytelling. Producers contracted seven studios to animate the first season, including Pacific Animation Corporation in Japan and Toon's Factory in France. Japanese and Korean animators drew traditional cel sequences and added color; an international team handled digital post-production and QuestWorld scenes. Teva, a subsidiary of Total Group, organized a post-production team in Paris, led by Eric Jacquot, Gilles Deyries, and Pascal Legeay. Using video post-production high-end specialized tools, including Henry, Spirit, Flame, and others, the team strove to deliver a high-speed computer editing and post-production process. The majority of the first season's footage was digitally inked and painted to enhance background elements. Producers applied the process in excess of twenty hours per episode, adding light effects, rain, snow, glitter, reflections, and fog.
Hanna-Barbera implemented a new computer system to combine manual animation with digital paint and to provide camera movement flexibility, which created a partial three-dimensional effect. Takashi felt the system made the creative team "honest filmmakers" through hands-on production. Lawrence described the system in 1995: