ChroniclesOfRiddick: DarkFury is an animated short that should be a cheap cash-in, but it's actually a sweet and satisfying experience.
Richard B. Riddick is a cool dude. He wears sunglasses all the time — welding goggles, to be specific. Never takes them off, even indoors or when prompted by the subtle gestures of polite society. He’s got a habit of stabbing people who try to talk to him. As a result, most people only speak of him, in awed tones. And as played by Vin Diesel, his own lines like “I bow to no man” and “The wolf moves among sheep” are more growled than spoken.
Fortunately, The Chronicles of Riddick was already a clash, marrying in unholy union the dirty gunmetal of Pitch Black to sword-and-planet extravagance. The problem was the aforementioned evil empire, the “Necromongers,” whose knight armor and spears would’ve fit in with Krull but not alongside Vin Diesel’s goggles and perpetual black tank top. Positioned so centrally, they also make for a thematic problem, as the Riddick universe already had a big bad: the mercenaries, or “mercs.
The trick to antiheroes like Guts and the Punisher and, yes, Riddick, is to come up with villains who are even worse, and Antonia represents this universe at its darkest. The opening zero-G massacre is resolved when a merc holds Jack at gunpoint, and Riddick breaks with his earlier growl that “The girl is nothing to me.” Antonia sees through that and takes him prisoner, leading to another characteristic scene: Riddick bound but making his captors nervous.
The Riddick series has always been good with monsters, from the very beginning with the “bio-raptors” of Pitch Black, designed by French artist Patrick Tatopoulos. He’d stick with the series long enough to populate the desert planet of 2013’s Riddick with extraterrestrial dogs, birds, and “mud demons.” Whether the vampire hybrids of Underworld or the infamous 1998 Godzilla, a Tatopoulos monster is at once intricately stylized and familiar, grounded in some biological truth.
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