Code Lyoko
(2003-2007, Ages 8 and Up)
9/1/17
By chance, does anyone remember Miguzi? For those who either don’t or haven’t heard of it, this was a TV block that aired on Cartoon Network from 2004-2007. This is likely due to my age at the time—I was in my final years of high school—but for the most part I considered Miguzi something of a poor man’s Toonami. It was similar to Toonami in that it aired cartoons of the action genre, but theirs, like Totally Spies! and Teenage Mutant Ninja Turtles (’03), felt a bit too juvenile for my taste when compared to the latter’s more mature fare. But there was one Miguzi cartoon that did get my attention, partly because its animation style was like none I was familiar with at the time. Aside from anime and the claymation of Aardman (i.e. Wallace and Gromit), this was one of the first cartoons in my memory that truly opened my eyes to the idea of animations from other parts of the world. Needless to say, it was quite the learning experience—but of course, the plot, characters, and action weren’t too shabby, either.
Hidden in the depths of an abandoned machine factory in present-day France lays a supercomputer, more powerful than any that had been made before it. Within this computer is the mysterious parallel universe of Lyoko, wherein two sentient beings reside: Aelita, a kind and brave elflike humanoid female, and X.A.N.A., a formless and malignant computer virus that seeks to conquer Earth via the activation and control of the many towers found throughout Lyoko. The only ones who can stop it are four regular earth kids attending a nearby boarding school. Through the use of full-size scanners and a highly advanced virtualization program, the quiet and pensive Ulrich, the strong and loyal Yumi, and the comical and gluttonous Odd are able to be literally transported into Lyoko itself, while computer genius Jeremy informs and guides them via the supercomputer’s controls from the real world. Transformed into their own virtual avatars, each with unique individual weapons and abilities, they battle X.A.N.A.’s myriad creatures on Lyoko in order to protect Aelita, who is the only one capable of deactivating the usurped towers. With her aid, the four friends must thwart X.A.N.A.’s plans and save the world while keeping their mission secret from the watchful eyes of their parents, teachers, and classmates.
This series provided not only one of my earliest exposures to foreign animation—in this case, French—, but also my introduction to anime-influenced cartoons. Veterans of the style will note many of the visual and archetypal tropes associated with it, though I think they are much more subtle in this case. Just to name a few to those less familiar, a highly common one seen here is the premise of otherwise normal teenagers juggling school, family and friends with fighting evil. The characters’ physical features are only slightly exaggerated and stylized: their design is very angular, especially the eyes, which are also much smaller in relation to their head size in contrast to eyes large enough to take up most of the face, making the girls almost exotically beautiful and the guys, even the less intelligent ones, somber and cool. And unlike cartoons like Teen Titans and Avatar: The Last Airbender, the more extreme emotional clichés of anime are absent here, like the “sweat drop” indicating nervousness or exasperation or the glowing eyes/fanged teeth indicating intense anger. And Miyazaki fans in particular may catch some interesting little Easter Eggs, such as the stuffed animal in Yumi’s bedroom that looks like the iconic character Totoro, or the fact that Mr. Delmas, the school principal, bears a more-than-striking resemblance to the legendary Japanese director himself. One other major anime trait is the frame-by-frame repetition of “action” animation, like when characters transform into their superhero personas or prepare to blast off in their giant mecha vehicles. Though some individual shots may cut or rearranged according to an episode’s plot, the exact movements of Jeremy virtualizing Ulrich, Yumi, and Odd into Lyoko are the same each and every time, getting the audience both nostalgic and excited for the action that awaits.
Another unique aspect of this show is its incorporation of both traditional 2D animation and CGI, the former for scenes in the real world, and the latter for the virtual world of Lyoko. But there are elements of “magical” fantasy weaved in to balance out the facets of pure science fiction. Lyoko is made up of four different “sectors”: forest, desert, mountain, and ice. To me, this represents the four elements of nature and ties in especially well with the fact that Aelita’s virtual form is that a mythical creature with power over the “natural” environment of Lyoko. Similarly, each character’s Lyoko form embodies their own strengths and personalities. Ulrich appears as a young samurai with super speed and a powered-up katana due to his solemn demeanor and love of martial arts. Odd’s litheness and carefree attitude make him a humanoid cat, with paws that shoot swift and powerful “laser arrows.” And the avatar of Yumi, calm, sensible, and of Japanese ancestry, is a lovely geisha with razor-sharp fans which can be thrown like discs to slash enemies.
ULRICH: (Swinging his sword experimentally.) Wow, this sword rocks!
ODD: (In protest.) Hey, that’s not fair! How come he gets to be a samurai? That’s so much cooler!
JEREMIE: I have no idea why. Maybe the computer just reads into your own subconscious desires and projects them onto your digital incarnations.
ODD: I don’t dream about giant purple cats!
[. . .]
ODD: (Examining his paws, changing his mind.) Hmm. These arrows are pretty cool. I take back what I said.
Of course, a show like this wouldn’t be complete without a bit of romantic drama, one source being Jeremie’s not-so-secret crush on Aeilita. A major plot point of Season 1 involves Jeremie working night and day to figure out how to materialize Aeilita and bring her to Earth as a real human being. Their adolescence adds a charming innocence and believability to an otherwise very strange and seemingly unnatural and impossible relationship. When not helping the others fight, Jeremie is often seen pleasantly chatting with Aeilita through his monitor; her naivety regarding the real world and his shyness make for some of the most enjoyable bits of the show, ranging from heartwarming and sweet to humorously awkward.
AELITA: (Thoughtfully.) It’s strange that they’re made at each other. Yumi and Ulrich always get along so well.
JEREMIE: (Reasonably.) You know, Aelita, very often people who get along well have fights.
AELITA: Really? What about you and I? Why don’t we ever fight?
JEREMIE: (Stammering) You and I? Well, I don’t know, really, I, uh . . . anyway, uh, X.A.N.A.’s been pretty quiet lately. Too quiet, don’t you think?
[. . .]
JEREMIE: Anyway, there’s one thing that I’m sure of: I’ve never been as close to the answer as I am now.
AELITA: (With longing.) Oh, honestly. It’s so hard to imagine. We can be face-to-face in the same room. We can tough each other. Even kiss.
JEREMIE: (Blushing and stammering.) Uh, yeah, that’d be, uh . . . um, uh, interesting. I mean, well, uh, I guess.
What I especially like about Code Lyoko is its sheer creativity. The group’s secret is endangered constantly and they’ve actually been caught by outsiders before. Their secret weapon? The “Return to the Past”, a program that literally rewinds time, so that anyone who learns too much—or is even on the verge of dying at the hands of X.A.N.A.—comes back good as new and none the wiser, while the protagonists’ virtualizations make them immune, enabling them to recall everything that happens. This is such a cool and clever idea as it not only revs up the suspense whenever one of X.A.N.A’s offensive is about to turn deadly, but it also provides more light-hearted and positive moments for the four friends, namely opportunities to mess a bit with the goofy P.E. teacher, Jim, and especially the school’s bratty bully, Sissy, or even better, for them to learn from and prevent any mistakes on their part that may have caused pain or misfortune to loved ones.
MILLIE: (Blushing and teary-eyed.) Uh, Ulrich, would you, would you be my date tonight?
ULRICH: (Awkwardly.) Uhhh, I’m sorry, Millie. It wouldn’t be a very good idea. I’m too old for you.
[. . .]
SISSY: (With haughty triumph.) You see? (Laughs.) What did I tell you?
[. . .]
MILLIE: (Blushing and teary-eyed.) Uh, Ulrich, would you be my date?
ULRICH: (Approaches her, smiling; kneels before her, puts his hands on her shoulders comfortingly.) Be glad to, Millie. I’ll see you here at 8.
SISSY: (Outraged.) What?! But . . . Ulrich! You’re gonna—go with that . . . that silly baby?
ULRICH: (Confidently.) That’s right, I sure am. But don’t worry. When your brain gets another neuron to two, maybe I’ll go out with you, too.
SISSY: (Growls and blushes with fury.)
And speaking of offensives and misfortunes: part of the pleasure of watching this comes from seeing exactly what X.A.N.A.’s next scheme and its consequences will be. Now not to sound negative, but some of these have been seen and done before in some fashion in other action cartoons, though they are no less entertaining for all that. Consider these episodes:
- “Seeing is Believing” – in which X.A.N.A. plots to accumulate enough electricity to blow up a nuclear power plant:
JEREMIE: (Watching the computer monitor as it beeps.) The pylon can take one million volts. Once it’s all accumulated, X.A.N.A. can blow everything up.
YUMI: (Worriedly.) Nuclear sabotage. That’s a little over our heads, wouldn’t you say?
- “The Robots” – in which X.A.N.A. builds a huge killer robot that wreaks havoc among the helpless humans:
JEREMIE: (To Aelita on his laptop.) Everything okay?
AELITA: No, not really. X.A.N.A’s activated a tower and the Blocks are after me!
JEREMIE: And we’ve got a humongous robot at school that’s causing total panic wherever it goes!
YUMI: But how could X.A.N.A. have ever made a thing like that?
ULRICH: I wish I knew. But one thing is sure, it’s us he’s after.
- “Satellite” – in which X.A.N.A. takes over an orbiting military satellite and aims it at the school:
JEREMIE: (Mumbling as he calculates.) Let’s see . . . U466 . . . a military satellite armed with . . . (In horrified realization.) A highly destructive laser beam!
Fairly standard for a sci-fi action show for kids, right? But the real fun comes from X.A.N.A.’s more unconventional methods of attack. The evil virus actively infects and possesses not only other machines, but also non-electronic objects, chemicals, and even organic materials and living creatures, making them just as frightening and dangerous as any technological weapon. Some of these include:
- “Laughing Fit”—in which X.A.N.A. takes control of laughing gas and attempts to suffocate victims by making them literally die laughing:
ODD: (To JEREMIE and AELITA.) It was crazy, I really didn’t feel like laughing at all, but it was impossible to stop. As soon as Sissy poured water on me, that was it, I stopped immediately.
JEREMIE: (Seriously.) N20. Laughing gas. Ms. Hurts said that the only thing that could volatilize it was water.
- “Plagued”—in which X.A.N.A. possesses a swarm of rats and sets them loose all over the school:
ULRICH: Ah! Oh, no! (Sees a huge mass of rats outside blocking the cafeteria door.)
ODD: Uh, oh.
ULRICH: (Bangs the door.) We’re trapped!
ODD: Nice going, X.A.N.A.! The rats all waited for nighttime, and they attacked us as soon as we were all in the cafeteria!
- “Amnesia”—in which X.A.N.A. builds microscopic robots to attack brain cells and wipe away memories:
ODD: (Looks at the spider-like nano-bots through the microscope in disgust.) Ulgh! What are those ugly creatures?
JEREMIE: What I was afraid of. They’re nano-viruses. And X.A.N.A. must have created them to attack memory cells.
YUMI: (With horror.) That means that it is contagious.
JEREMIE: Like all viruses, you can catch it from food, contact, sneezing; soon the whole school will be infected, including us.
ODD: (Softly.) A world without memory . . .
YUMI: Under X.A.N.A.’s control!
- “Killer Music”—in which X.A.N.A. composes and formats a song which puts those who hear it into a coma:
YUMI: (On her phone as she runs, breathing heavily.) Jeremie, it’s the song that’s causing it!
JEREMIE: What do you mean, the song? I don’t understand.
YUMI: It is! It’s the song! “Glad When You’re Bad”!
ULRICH: Oh, no! I think that’s the song Odd downloaded from the web yesterday!
JEREMIE: X.A.N.A.’s using the media for maximum coverage.
YUMI: He’s formatted the song! And now he’s spreading it all over!
JEREMIE: (Muttering angrily.) A deadly melody.
It’s possible that I’ve thought a bit too deeply into it, but this in particular has always been one of Code Lyoko’s most fascinating aspects to me. It makes me wonder and consider how closely related and similar science is to nature on a molecular level, as well as how manipulative and dangerous our own technology can be no matter how much we strive to build and study and understand it—or exactly because of how much we try to control it.
I don’t often go for shows like this because, if done wrong, the real-life drama involved can easily make the characters stupid, whiny brats and the subplots insufferably cheesy or boring, all of which may overwhelm and ruin the story. (A major reason why I tend to find many “Magical Girl” shows—anime or otherwise—particularly painful.) Luckily, the personalities of Code Lyoko’s characters are portrayed realistically and believably without sacrificing the quick pacing and inventive action, making them fully fleshed out heroes—whether that flesh is pencil-drawn or pixelated.
CREDITS:
All images, audio, and links belong to their respective owners; no copyright infringement is intended.
MAIN THEME:
“The Call” – Briand Morrison and Roxann Berglund
Hidden in the depths of an abandoned machine factory in present-day France lays a supercomputer, more powerful than any that had been made before it. Within this computer is the mysterious parallel universe of Lyoko, wherein two sentient beings reside: Aelita, a kind and brave elflike humanoid female, and X.A.N.A., a formless and malignant computer virus that seeks to conquer Earth via the activation and control of the many towers found throughout Lyoko. The only ones who can stop it are four regular earth kids attending a nearby boarding school. Through the use of full-size scanners and a highly advanced virtualization program, the quiet and pensive Ulrich, the strong and loyal Yumi, and the comical and gluttonous Odd are able to be literally transported into Lyoko itself, while computer genius Jeremy informs and guides them via the supercomputer’s controls from the real world. Transformed into their own virtual avatars, each with unique individual weapons and abilities, they battle X.A.N.A.’s myriad creatures on Lyoko in order to protect Aelita, who is the only one capable of deactivating the usurped towers. With her aid, the four friends must thwart X.A.N.A.’s plans and save the world while keeping their mission secret from the watchful eyes of their parents, teachers, and classmates.
This series provided not only one of my earliest exposures to foreign animation—in this case, French—, but also my introduction to anime-influenced cartoons. Veterans of the style will note many of the visual and archetypal tropes associated with it, though I think they are much more subtle in this case. Just to name a few to those less familiar, a highly common one seen here is the premise of otherwise normal teenagers juggling school, family and friends with fighting evil. The characters’ physical features are only slightly exaggerated and stylized: their design is very angular, especially the eyes, which are also much smaller in relation to their head size in contrast to eyes large enough to take up most of the face, making the girls almost exotically beautiful and the guys, even the less intelligent ones, somber and cool. And unlike cartoons like Teen Titans and Avatar: The Last Airbender, the more extreme emotional clichés of anime are absent here, like the “sweat drop” indicating nervousness or exasperation or the glowing eyes/fanged teeth indicating intense anger. And Miyazaki fans in particular may catch some interesting little Easter Eggs, such as the stuffed animal in Yumi’s bedroom that looks like the iconic character Totoro, or the fact that Mr. Delmas, the school principal, bears a more-than-striking resemblance to the legendary Japanese director himself. One other major anime trait is the frame-by-frame repetition of “action” animation, like when characters transform into their superhero personas or prepare to blast off in their giant mecha vehicles. Though some individual shots may cut or rearranged according to an episode’s plot, the exact movements of Jeremy virtualizing Ulrich, Yumi, and Odd into Lyoko are the same each and every time, getting the audience both nostalgic and excited for the action that awaits.
Another unique aspect of this show is its incorporation of both traditional 2D animation and CGI, the former for scenes in the real world, and the latter for the virtual world of Lyoko. But there are elements of “magical” fantasy weaved in to balance out the facets of pure science fiction. Lyoko is made up of four different “sectors”: forest, desert, mountain, and ice. To me, this represents the four elements of nature and ties in especially well with the fact that Aelita’s virtual form is that a mythical creature with power over the “natural” environment of Lyoko. Similarly, each character’s Lyoko form embodies their own strengths and personalities. Ulrich appears as a young samurai with super speed and a powered-up katana due to his solemn demeanor and love of martial arts. Odd’s litheness and carefree attitude make him a humanoid cat, with paws that shoot swift and powerful “laser arrows.” And the avatar of Yumi, calm, sensible, and of Japanese ancestry, is a lovely geisha with razor-sharp fans which can be thrown like discs to slash enemies.
ULRICH: (Swinging his sword experimentally.) Wow, this sword rocks!
ODD: (In protest.) Hey, that’s not fair! How come he gets to be a samurai? That’s so much cooler!
JEREMIE: I have no idea why. Maybe the computer just reads into your own subconscious desires and projects them onto your digital incarnations.
ODD: I don’t dream about giant purple cats!
[. . .]
ODD: (Examining his paws, changing his mind.) Hmm. These arrows are pretty cool. I take back what I said.
Of course, a show like this wouldn’t be complete without a bit of romantic drama, one source being Jeremie’s not-so-secret crush on Aeilita. A major plot point of Season 1 involves Jeremie working night and day to figure out how to materialize Aeilita and bring her to Earth as a real human being. Their adolescence adds a charming innocence and believability to an otherwise very strange and seemingly unnatural and impossible relationship. When not helping the others fight, Jeremie is often seen pleasantly chatting with Aeilita through his monitor; her naivety regarding the real world and his shyness make for some of the most enjoyable bits of the show, ranging from heartwarming and sweet to humorously awkward.
AELITA: (Thoughtfully.) It’s strange that they’re made at each other. Yumi and Ulrich always get along so well.
JEREMIE: (Reasonably.) You know, Aelita, very often people who get along well have fights.
AELITA: Really? What about you and I? Why don’t we ever fight?
JEREMIE: (Stammering) You and I? Well, I don’t know, really, I, uh . . . anyway, uh, X.A.N.A.’s been pretty quiet lately. Too quiet, don’t you think?
[. . .]
JEREMIE: Anyway, there’s one thing that I’m sure of: I’ve never been as close to the answer as I am now.
AELITA: (With longing.) Oh, honestly. It’s so hard to imagine. We can be face-to-face in the same room. We can tough each other. Even kiss.
JEREMIE: (Blushing and stammering.) Uh, yeah, that’d be, uh . . . um, uh, interesting. I mean, well, uh, I guess.
What I especially like about Code Lyoko is its sheer creativity. The group’s secret is endangered constantly and they’ve actually been caught by outsiders before. Their secret weapon? The “Return to the Past”, a program that literally rewinds time, so that anyone who learns too much—or is even on the verge of dying at the hands of X.A.N.A.—comes back good as new and none the wiser, while the protagonists’ virtualizations make them immune, enabling them to recall everything that happens. This is such a cool and clever idea as it not only revs up the suspense whenever one of X.A.N.A’s offensive is about to turn deadly, but it also provides more light-hearted and positive moments for the four friends, namely opportunities to mess a bit with the goofy P.E. teacher, Jim, and especially the school’s bratty bully, Sissy, or even better, for them to learn from and prevent any mistakes on their part that may have caused pain or misfortune to loved ones.
MILLIE: (Blushing and teary-eyed.) Uh, Ulrich, would you, would you be my date tonight?
ULRICH: (Awkwardly.) Uhhh, I’m sorry, Millie. It wouldn’t be a very good idea. I’m too old for you.
[. . .]
SISSY: (With haughty triumph.) You see? (Laughs.) What did I tell you?
[. . .]
MILLIE: (Blushing and teary-eyed.) Uh, Ulrich, would you be my date?
ULRICH: (Approaches her, smiling; kneels before her, puts his hands on her shoulders comfortingly.) Be glad to, Millie. I’ll see you here at 8.
SISSY: (Outraged.) What?! But . . . Ulrich! You’re gonna—go with that . . . that silly baby?
ULRICH: (Confidently.) That’s right, I sure am. But don’t worry. When your brain gets another neuron to two, maybe I’ll go out with you, too.
SISSY: (Growls and blushes with fury.)
And speaking of offensives and misfortunes: part of the pleasure of watching this comes from seeing exactly what X.A.N.A.’s next scheme and its consequences will be. Now not to sound negative, but some of these have been seen and done before in some fashion in other action cartoons, though they are no less entertaining for all that. Consider these episodes:
- “Seeing is Believing” – in which X.A.N.A. plots to accumulate enough electricity to blow up a nuclear power plant:
JEREMIE: (Watching the computer monitor as it beeps.) The pylon can take one million volts. Once it’s all accumulated, X.A.N.A. can blow everything up.
YUMI: (Worriedly.) Nuclear sabotage. That’s a little over our heads, wouldn’t you say?
- “The Robots” – in which X.A.N.A. builds a huge killer robot that wreaks havoc among the helpless humans:
JEREMIE: (To Aelita on his laptop.) Everything okay?
AELITA: No, not really. X.A.N.A’s activated a tower and the Blocks are after me!
JEREMIE: And we’ve got a humongous robot at school that’s causing total panic wherever it goes!
YUMI: But how could X.A.N.A. have ever made a thing like that?
ULRICH: I wish I knew. But one thing is sure, it’s us he’s after.
- “Satellite” – in which X.A.N.A. takes over an orbiting military satellite and aims it at the school:
JEREMIE: (Mumbling as he calculates.) Let’s see . . . U466 . . . a military satellite armed with . . . (In horrified realization.) A highly destructive laser beam!
Fairly standard for a sci-fi action show for kids, right? But the real fun comes from X.A.N.A.’s more unconventional methods of attack. The evil virus actively infects and possesses not only other machines, but also non-electronic objects, chemicals, and even organic materials and living creatures, making them just as frightening and dangerous as any technological weapon. Some of these include:
- “Laughing Fit”—in which X.A.N.A. takes control of laughing gas and attempts to suffocate victims by making them literally die laughing:
ODD: (To JEREMIE and AELITA.) It was crazy, I really didn’t feel like laughing at all, but it was impossible to stop. As soon as Sissy poured water on me, that was it, I stopped immediately.
JEREMIE: (Seriously.) N20. Laughing gas. Ms. Hurts said that the only thing that could volatilize it was water.
- “Plagued”—in which X.A.N.A. possesses a swarm of rats and sets them loose all over the school:
ULRICH: Ah! Oh, no! (Sees a huge mass of rats outside blocking the cafeteria door.)
ODD: Uh, oh.
ULRICH: (Bangs the door.) We’re trapped!
ODD: Nice going, X.A.N.A.! The rats all waited for nighttime, and they attacked us as soon as we were all in the cafeteria!
- “Amnesia”—in which X.A.N.A. builds microscopic robots to attack brain cells and wipe away memories:
ODD: (Looks at the spider-like nano-bots through the microscope in disgust.) Ulgh! What are those ugly creatures?
JEREMIE: What I was afraid of. They’re nano-viruses. And X.A.N.A. must have created them to attack memory cells.
YUMI: (With horror.) That means that it is contagious.
JEREMIE: Like all viruses, you can catch it from food, contact, sneezing; soon the whole school will be infected, including us.
ODD: (Softly.) A world without memory . . .
YUMI: Under X.A.N.A.’s control!
- “Killer Music”—in which X.A.N.A. composes and formats a song which puts those who hear it into a coma:
YUMI: (On her phone as she runs, breathing heavily.) Jeremie, it’s the song that’s causing it!
JEREMIE: What do you mean, the song? I don’t understand.
YUMI: It is! It’s the song! “Glad When You’re Bad”!
ULRICH: Oh, no! I think that’s the song Odd downloaded from the web yesterday!
JEREMIE: X.A.N.A.’s using the media for maximum coverage.
YUMI: He’s formatted the song! And now he’s spreading it all over!
JEREMIE: (Muttering angrily.) A deadly melody.
It’s possible that I’ve thought a bit too deeply into it, but this in particular has always been one of Code Lyoko’s most fascinating aspects to me. It makes me wonder and consider how closely related and similar science is to nature on a molecular level, as well as how manipulative and dangerous our own technology can be no matter how much we strive to build and study and understand it—or exactly because of how much we try to control it.
I don’t often go for shows like this because, if done wrong, the real-life drama involved can easily make the characters stupid, whiny brats and the subplots insufferably cheesy or boring, all of which may overwhelm and ruin the story. (A major reason why I tend to find many “Magical Girl” shows—anime or otherwise—particularly painful.) Luckily, the personalities of Code Lyoko’s characters are portrayed realistically and believably without sacrificing the quick pacing and inventive action, making them fully fleshed out heroes—whether that flesh is pencil-drawn or pixelated.
CREDITS:
All images, audio, and links belong to their respective owners; no copyright infringement is intended.
MAIN THEME:
“The Call” – Briand Morrison and Roxann Berglund
EPISODE SONG:
"Working the Code” - George Ellsworth
"Working the Code” - George Ellsworth
All other music and sound clips are from Season 1 of Code Lyoko (created by Tania Palumbo and Thomas Romaine; directed by Jérôme Mouscadet; production by Antefilms; distributed by Mediatoon Distribution).
Ep. 1: “Teddygodzilla”
Ep. 2. “Seeing is Believing”
Ep. 6. “Cruel Dilemma”
Ep. 9: “Satelite”
Ep. 11: “Plagued”
Ep. 15: “Laughing Fit”
Ep. 17: “Amnesia”
Ep. 18: “Killer Music”
Ep. 20: “The Robots”
Ep. 22: “Routine”
Special: “X.A.N.A. Awakens (Part 1)”
OST SONG:
“Racing”
Download the full 15-minute episode here!
Code Lyoko on Wikipedia
The sequel series, Code Lyoko: Evolution, on Wikipedia
Code Lyoko on Fandom
Code Lyoko's Facebook Page
Code Lyoko on IMDb
Code Lyoko on Common Sense Media
Code Lyoko on Tv Tropes
Code Lyoko's Official English YouTube Channel
Code Lyoko's Official French YouTube Channel
Garage Kids' (Code Lyoko pilot) Youtube channel
Buy Code Lyoko on Amazon
Buy Code Lyoko on EBay
^^ Back to T.V. Shows, Web Series, and Other Narrative Programs
Ep. 1: “Teddygodzilla”
Ep. 2. “Seeing is Believing”
Ep. 6. “Cruel Dilemma”
Ep. 9: “Satelite”
Ep. 11: “Plagued”
Ep. 15: “Laughing Fit”
Ep. 17: “Amnesia”
Ep. 18: “Killer Music”
Ep. 20: “The Robots”
Ep. 22: “Routine”
Special: “X.A.N.A. Awakens (Part 1)”
OST SONG:
“Racing”
Download the full 15-minute episode here!
Code Lyoko on Wikipedia
The sequel series, Code Lyoko: Evolution, on Wikipedia
Code Lyoko on Fandom
Code Lyoko's Facebook Page
Code Lyoko on IMDb
Code Lyoko on Common Sense Media
Code Lyoko on Tv Tropes
Code Lyoko's Official English YouTube Channel
Code Lyoko's Official French YouTube Channel
Garage Kids' (Code Lyoko pilot) Youtube channel
Buy Code Lyoko on Amazon
Buy Code Lyoko on EBay
^^ Back to T.V. Shows, Web Series, and Other Narrative Programs