The animation remains of high quality, while the voice work remains strong, but it is the imagination in the writing that I like, with silly but not "stupid" narratives allowing total flights of fancy, but yet still working as contained and often connected narratives.
Okay there is a certain amount of repetition in the structure of the episodes at times, but I think this is more an issue with me watching all 30+ of them in the space of a few weeks, as opposed to over 10 months as they originally screened. Jeffrey Duncan Jones (born September 28, 1946) is an American character actor, best known for his roles as Emperor Joseph II in Amadeus (1984), Edward R. More tellingly, the tone of delivery is so matter-of-factly that it manages to sell it as something to enjoy, and it really never becomes silly for the sake of it. All of these are fairly representative of the majority of the season doing what it does well, which is to produce decent little character moments or situational narratives, but introduce a fantasy element into it which takes it far beyond the norm even though everyone just goes with it. There are a couple of extended episodes in there which I enjoyed a lot, including a big sci-fi action opening for the season, a Halloween special, and a very enjoyable festive episode. Although he is used as a plot device or narrative focus more often than I would like, this season seems to manage it better, and produces more even and consistent episodes. The overuse of this very limited character was part of the reason I felt too many episodes in the previous season were weaker than they should have been. Scroll down the episode list for this fourth season on IMDb, I will admit that memories of the problems with the third season were in my mind as I noted the times that Muscle Man seemed to be the first word in the plot summary, or at very least merited a mention in the few sentences against each title. Milos Forman's 'Amadeus' is not about the genius of Mozart but about the envy of his rival Salieri, whose curse was to have the talent of a third-rate composer but the ear of a first-rate music lover, so that he knew how bad he was, and how good Mozart was.
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