In contrast to the majority of superhero films, many of which opt for high tech, CG heavy title sequences, to reflect its period setting, 40 years prior to the events of the original X-Men series, Matthew Vaugn's X-Men First Class resorts to a more retro animation style. Paying tribute to Maurice Binder's work on title's such as Dr No, Prologue's titles use similarly bold graphic shapes. However, rather than abstract patterns, the shapes are arranged to look like dividing cells, double helices and chromosomes, mirroring the franchise's central theme of genetic mutation.
That Simon Clowes' designs for First Class so strongly echo Binder's work is apt considering that it is set in 1962, the same year Dr No was released, and that the plot is strongly linked to the Cold War, a theme shared with early Bond films.
In contrast to Clowes' slick and stylish approach, Kook Ewo's concept (realised by French visual effects studio Chez Eddy) for Splice chose to present similar themes from a more realistic perspective. Both films revolve around genetic mutation, although the latter concerns deliberate genetic modification in the world of science. The use of CG allowed Ewo to design a sequence that follows the contours of what one assumes to be an unborn foetus, although the claustrophobic closeup never allows us a full view of the abhorrent creature. Instead, the audience is allowed to closely see various different skin textures, some appear human, others reptilian or even like the surface of a leaf, all thin enough for a network of veins to be visible beneath. At any rate, this is probably closer than most people would care to see, but sets the mood for the challenging and uncomfortable film to follow.
The difference in the two title sequences can be attributed to the discrepancy between the films' tones. With X-Men, the focus is not on the science, but rather the fictional super abilities the characters possess, and their struggle to coexist with the rest of humanity. Splice, on the other hand, approaches a cautionary tale about the dangers of genetic modification through the use of horror and suspense. Everything from the foreboding soundtrack, grim green colour palette, organic shapes and somewhat nauseating imagery set Splice's titles apart from the energetic and colourful X-Men sequence, which in spite of its scientific references, sticks to graphic diagrams and avoids the squeamish.
In contrast to Clowes' slick and stylish approach, Kook Ewo's concept (realised by French visual effects studio Chez Eddy) for Splice chose to present similar themes from a more realistic perspective. Both films revolve around genetic mutation, although the latter concerns deliberate genetic modification in the world of science. The use of CG allowed Ewo to design a sequence that follows the contours of what one assumes to be an unborn foetus, although the claustrophobic closeup never allows us a full view of the abhorrent creature. Instead, the audience is allowed to closely see various different skin textures, some appear human, others reptilian or even like the surface of a leaf, all thin enough for a network of veins to be visible beneath. At any rate, this is probably closer than most people would care to see, but sets the mood for the challenging and uncomfortable film to follow.
The difference in the two title sequences can be attributed to the discrepancy between the films' tones. With X-Men, the focus is not on the science, but rather the fictional super abilities the characters possess, and their struggle to coexist with the rest of humanity. Splice, on the other hand, approaches a cautionary tale about the dangers of genetic modification through the use of horror and suspense. Everything from the foreboding soundtrack, grim green colour palette, organic shapes and somewhat nauseating imagery set Splice's titles apart from the energetic and colourful X-Men sequence, which in spite of its scientific references, sticks to graphic diagrams and avoids the squeamish.
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