«Ralph 2.0»: let's go, kids, into the Internet!

Cinema Wednesdays - Loris S. Musumeci

Arcade games have had their day. The Internet has arrived, like a universe in which «you never know where it begins or when it ends.» Ralph is nevertheless satisfied with his life as a game character. During the day, he does his job by making himself available to players, and in the evening he relaxes, sipping a good beer. Never alone! His best friend, Vanellope, spends all her time laughing and having fun with her fat boyfriend when she's not working. She comes from another game: car racing.

Then one fine day, the steering wheel on Vanellope’s arcade game breaks. Unfortunately, the arcade manager can’t afford to order the last available steering wheel on the market—which happens to be on eBay. So Ralph and his friend head off into the incredible world of the Internet to simply retrieve that steering wheel. But the Web has its own rules that defy reason. And things get complicated, turning into a real adventure.

We avoid the Manichaean trap

Pixar Studios has really spoiled us in recent years. Their animated films—and those of the entire Disney company in general—are not only high-quality, but they also convey a rather wholesome educational message for children. Now it’s the Internet’s turn to be tackled—or rather, it’s time to tackle the Internet. Indeed, if Ralph 2.0 While it does, to some extent, warn younger viewers about the dangers of the world’s largest network, it nonetheless highlights its positive aspects. Perhaps a bit lenient; in any case, not black-and-white.

The cartoon tries to strike a balance by portraying the internet as a place where anything is possible—even making a lot of money in just a few hours thanks to silly videos. Is the internet a miracle? Maybe. But it’s also a real addiction. The race for like It is portrayed as a vicious cycle that fuels narcissism and disappointment. It also addresses friendship; and that is the most valuable point. While social media—which we all experience with mixed feelings—enables communication and the creation and maintenance of connections, it is also perverse in the possessiveness it encourages. Constant, involuntary surveillance that meticulously tracks a friend’s last login and scours every post in an attempt to piece together a record of everything they do, everything they experience, how, and with whom.

A classic frame structure

Ralph 2.0 It also follows in the tradition of its peers by incorporating an Aristotelian narrative structure. Joy permeates the beginning, giving way to twists and turns that lead to a crisis, during which a villain enters the fray, until the story reaches a satisfying conclusion where everything returns to normal and everyone emerges stronger.

As for the music—which was conspicuously absent at the beginning—it quietly makes its entrance in an ironic way, finally taking the place it deserves in any animated film. Because kids need it after a while; all their senses need to be engaged while watching a movie. Finally, the humor contributes meaningfully to the message. It will, however, make teenagers and adults laugh more than it does children. Yet it is the children who are the primary audience. So, come on, kids—let’s set off on an adventure through the Internet. But be careful!

Write to the author: loris.musumeci@leregardlibre.com

Photo credit: © The Walt Disney Company Switzerland