Animation Obsessive

@ani_obsessive • 209,609 subscribers

Animation tidbits from around the world, including rare and underappreciated material you won't find elsewhere. Newsletter: https://t.co/CyPMPN0kqV

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Animation Obsessive

Shorts

Ray Harryhausen's stop-motion skeletons in Jason and the Argonauts are amazing even now. He animated the sequence by himself for more than four months -- without computers or even an easy way to check his work. We're looking into how he did it: ─➤

In the '70s, Hayao Miyazaki tried to revive the cartoons of his youth. And he kept mentioning Fleischer's Mr. Bug Goes to Town. He loved its animation and use of "space," and the physical way its characters navigate its world. We look into the story: ─➤

Run and walk pencil tests by William Salazar for Balto (1995), dir. Simon Wells, Amblimation

From: The Hand (1965), dir. Jiří Trnka, Krátký Film Prague

Breaking down a shot from Children of the Sea (2019), dir. Ayumu Watanabe, Studio 4°C A complex blend of 3D and 2D animation created this film's vibrant, painterly look

Pencil tests by Hyun-min Lee for The Princess and the Frog (2009), dir. Ron Clements and John Musker, Walt Disney Animation Studios

A pencil test progression by Sergio Pablos for Treasure Planet (2002), dir. Ron Clements and John Musker, Walt Disney Feature Animation

From: The Glass Marble (1963), dir. Hermína Týrlová, Filmové Studio Gottwaldov

2D animation is booming in theaters. In China, the film Nobody is outgrossing many of Hollywood's recent CG films—on a $10&lt; million budget. It's only one example. As 2D films rise, Hollywood's decision to kill them off looks shortsighted, as we explore: ➤

Building the highwayman shot from Over the Garden Wall (2014), created by Patrick McHale, Cartoon Network Studios Storyboards by Patrick McHale, animation by Nick Cross

A Studio Ghibli commercial (2009) for a Japanese newspaper, directed by Goro Miyazaki This is a tribute to the work of Shigeru Sugiura, a surrealist manga artist who influenced Ghibli

Japanese animation was popular in the USSR -- even Andrei Tarkovsky watched it. And Soviet artists wanted to compete. The recently restored Mystery of the Third Planet was an odd, wonderful attempt to do so. We explore: ─➤

It wasn't deep. It didn't have much to say. But Xiao Xiao inspired millions to try Flash animation for themselves. A Beijing artist made this series -- and turned stick fights into a phenomenon. We're exploring why and how he did it: ─➤

Pencil and final animation: Tokyo Godfathers (2003), dir. Satoshi Kon, Madhouse Key animation by Shinji Otsuka

The Dojo (2018), an animation by Rachel Reid for the School of Motion

Dahufa (2017) is a weird, beautiful, ultraviolent cult film from China, and a must-watch for people into action animation. There's a subtitled copy on YouTube. Full film➡️

From: Night on Bald Mountain (1933), dir. Alexandre Alexeieff and Claire Parker

In the '70s, Hayao Miyazaki and Isao Takahata did a small movie about pandas. It set a course for their careers—and for Ghibli. Although he worked on it himself, Miyazaki named it one of his favorite animated films. Its impact was real, as we explore: ─➤

Pencil tests by David Zach for Lilo &amp; Stitch (2002), dir. Chris Sanders and Dean DeBlois, Walt Disney Feature Animation

Animation by Rohit Kelkar for My Father's Dragon (2022), dir. Nora Twomey, Cartoon Saloon

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The Disney renaissance movies used to look different. They were planned to be printed on 35 mm film -- that's how they were first released. Modern editions skip that last step in the process. It was a highly developed, overlooked craft, as we explore: ─➤

From: Zima Blue (2019), dir. Robert Valley, Passion Animation Studios

Bread, Milk and Butter (1972), dir. Jim Simon, Wantu Studios

From: Kakania (1989), dir. Karen Aqua

From: Labyrinth Labyrinthos (1987), dir. Rintaro, Madhouse/Project Team Argos

From: Patlabor 2 (1993), dir. Mamoru Oshii, Production I.G

This style of light doesn't really appear in animation anymore. You know it when you see it -- it's bright, hot and almost dangerous. Our new issue explores the tricks behind it, and how one artist has revived the look for the digital age: ─➤

From: Snif &amp; Snüf (2023), dir. Michael Ruocco Complete film:

A bumper for Nickelodeon India, made with incredibly creative stop-motion animation From: Mom and Brat (2018), dir. Anand Babu and Vaibhav Kumaresh, Vaibhav Studios

From: The Little Prince and the Eight-Headed Dragon (1963), dir. Yugo Serikawa, Toei Doga

From: Ballerina on a Boat (1969), dir. Lev Atamanov, Soyuzmultfilm

Animation with sand on glass From: The Metamorphosis of Mr. Samsa (1977), dir. Caroline Leaf, National Film Board of Canada

From: Grimm's Fairy Tales - The Golden Bird (1987), dir. Toshio Hirata, Toei Doga/Madhouse

From: Glass Harmonica (1968), dir. Andrei Khrzhanovsky, Soyuzmultfilm

From: Anju and Zushiomaru (1961), dir. Taiji Yabushita and Yugo Serikawa, Toei Doga

From: Crane's Feathers (1977), dir. Ideya Garanina, Soyuzmultfilm

Animation about the feelings you hide versus the ones you show From: Appearance and Reality (2014), dir. Elena Rogova and Zhenia Pavlenko, Amix Film Studio

Nick Park spent the '80s making A Grand Day Out mostly alone. It was a school project that got out of hand -- he wanted to quit many times. But Park stuck with it and fulfilled his dream of bringing a cinematic feel to stop motion. We explore: ─➤

From: Cannon Fodder (1995), dir. Katsuhiro Otomo, Studio 4°C

Early TV ads were a lifeline for Japanese animators. This stuff allowed for amazing creativity, even when other avenues didn't. Japan had world-class animated ads from the '50s onward. We're looking into a few of them today: ─➤

2D animation is booming in theaters. In China, the film Nobody is outgrossing many of Hollywood's recent CG films—on a $10< million budget. It's only one example. As 2D films rise, Hollywood's decision to kill them off looks shortsighted, as we explore: ➤

Pencil tests by David Zach for Lilo & Stitch (2002), dir. Chris Sanders and Dean DeBlois, Walt Disney Feature Animation

From: Snif & Snüf (2023), dir. Michael Ruocco Complete film: