Long ago it may have seemed a distant sci-fi dream, but now the Metaverse stands for a growing digital universe where users interact, create, and experience content in real time. The beauty at the very core of it is a creative revolution – one where artists are building entire virtual worlds as interactive canvases rather than one being powered purely by machines.
Read MoreA recurring motif in Japanese animation and contemporary climate fiction animation is the misuse of technology by fictional scientific and militaristic authorities, which in the fictional narratives leads to severe disaster, often with ecological and environmental consequences. In this context, “living weapons” – powerful beings created by science whose impact and abilities are reminiscent of weapons of mass destruction – are particularly potent. Living weapons are “fantasy characters who exist in alternative worlds and become embroiled in implausible plot lines” (Swale 2020, 1999). As archetypes, they prompt reflection on the depiction of cultural notions of catastrophe, particularly environmental catastrophe, and are often explored as symptomatic of deep-rooted and durable cultural anxieties about disastrous scientific incidents.
Read MoreAnimation is inherently queer. The very process of destabilising the rigid boundaries of the human body and abstracting it into shapes and colours that we can project ourselves onto is essentially a process of queering. In their article “Why Are Cartoons So Queer?” for Sunstroke Magazine, Kellie Toyama remarks that “the flexible nature of animation gives stories the added potential to introduce fluid concepts of gender and sexuality with ease,” making animation the perfect medium to visualise the queer experience. As Paul Wells states, “the animated film has the capacity to redefine orthodoxies of live-action narrative and images,” an analysis that Kodi Maier elaborates on by linking his discussion directly to queer theory: “animation’s elasticity opens a realm where ideas of normalcy are disrupted and hidden potentials are revealed much in the same way that queer theory disrupts common understandings of gender and sexuality to explore other options in regards to embodiment and expression.” Why is it, then, that mainstream animation has for so long been afraid of queerness?
Read MoreTokusatsu is a Japanese media genre that translates roughly to “special effects,” hallmarked by its use of suits and over-the-top action scenes in a live action production. Think Godzilla and Ultraman, or Power Rangers for readers around my age. The reason I find myself interested in tokusatsu is that over-the-top spectacle. There’s not a lot that hits for me much better than a guy in a well-designed suit performing a flashy kick into a gross rubber monster suit accompanied by a huge explosion.
Read MoreYou’ve probably binge-watched animated shows or scrolled through endless GIFs, but have you ever wondered how animation actually began? Let’s rewind to 1832—before Netflix, before Disney, even before flipbooks—to meet the Phenakistoscope, the great-great-grandparent of all moving pictures. This device used cardboard, mirrors, and optical magic to make static images dance. Let’s dive into how this forgotten gadget sparked a revolution—and why it’s making a comeback today.
Read MoreIn 2020, the American streaming giant Netflix acquired global streaming rights (excluding the United States and Japan) for the films of Studio Ghibli. Audiences have since been enjoying a collection of the world-famous Ghibli animation films from My Neighbor Totoro (Hayao Miyazaki, 1988), Spirited Away (Hayao Miyazaki, 2002), and Ponyo (Hayao Miyazaki, 2008) for nearly 5 years. But there was one exception. The 1988 film Grave of the Fireflies, directed by the co-founder of Studio Ghibli Isao Takahata was on the waiting list for 4 years, before finally arriving onto the platform on September 16, 2024.
Read MoreCoal Black and de Sebben Dwarfs was one of the earliest animated American films to place a Black woman as the main character. Directed by Bob Clampett at Warner Brothers in 1942, the character of So White set a precedent for three further Black female lead characters in future Warner Brothers animated projects. However, introduced as a “happy washerwoman made for a jazzier version of the mammy stereotype” (Lehman 2007, 78), So White contributes to a larger structure of racism within American animation, hindering the progression of positive representation for future Black women as animated characters. The question that this blog investigates is whether the representation of Black women in Warner Brothers animation has truly improved since the introduction of So White, or do So White’s successors continue to perpetrate harmful stereotypes about African American women?
Read MoreTrial of Osiris is a competitive player versus player (PVP) mode for the 2017 online video game Destiny 2. It is one of the most interesting and vibrant modes for battles, where you can demonstrate teamwork in a series of matches. To be more specific, squads of three players compete against each other in a series of rounds to determine the winner of the match. If you manage to achieve flawless status by winning 7 matches in a row, you can earn the best seasonal gear and weapons that will significantly strengthen your guardian.
Read MoreHazbin Hotel, a series created and directed by Vivienne Medrano, premiered in 2024. It follows the story of Charlie Morningstar, daughter of Lucifer Morningstar and Lilith, and her efforts to prevent sinners from facing the annual extermination which results in her establishing a hotel that rehabilitates them for entry into heaven. Although the series episodes explore a multitude of themes and topics, the episode that particularly resonated with me was “Episode 4: Masquerade,” which follows the character of Angel Dust as he tries to balance his job’s responsibilities while residing at the hotel.
Read MoreWhen arthouse streaming service, MUBI, acquired one of the year’s surprisingly successful films, 6x Oscar-nominated The Substance (Coralie Fargeat, 2024), it was originally being distributed by Universal for barely $18M. However, French writer/director Coralie Fargeat’s refusal to cut certain scenes eventually allowed her to shop the film elsewhere. With Fargeat now satisfied and Universal likely banging their heads against the wall, The Substance has become an absolute hit, going on to make $70M+ at the global box office (D’Alessandro, 2024).
Read MoreMy Neighbor Totoro is one of the most well-known among Studio Ghibli’s works. Directed by Hayao Miyazaki in 1988, the film tells the story of two girls, Mei and Satsuki, and their dad, Mr. Kusakabe, as they move to the countryside as they wait for Mrs. Kusakabe to recover from a hospital nearby. Now living in an old country home, Mei and Satsuki look in wonder at the countryside and eventually encounter magical creatures that live in the nearby forest (and even within their home), soon meeting the guardian of the forest, Totoro.
Read MoreDirected by Bibo Bergeron, the computer-animated film A Monster in Paris (2011) follows the story of Francoeur, a chemically mutated flea, as he explores the city of Paris, befriends Lucille and her two friends, and hides from the danger that is the fear of those who do not understand him. Set during the flooding of the Seine River (1910), Bergeron’s film carries various themes of love and friendship, though darker messages hide beneath the surface of this captivating Europe-set narrative.
Read MoreIn recent years, the entertainment industry has begun to delve more deeply into the once taboo topic of mental health and its complexities, expanding the representation of characters with mental illness beyond the two-dimensional caricatures that such screen representations began with. Riot Games’ animated Netflix series Arcane (Christian Linke & Alex Yee, 2021-) stands out as a compelling addition to this discussion, particularly through its creative representation of one character’s increasing mental instability. In this blog, I will analyze how Arcane draws from real-life manifestations of psychosis in order to create a visceral illustrated experience through the psychological deterioration of the innocent Powder into her unstable new identity, Jinx.
Read MoreFantasy anime has captivated global audiences with rich storytelling and vivid world-building. As Japanese animation continues to evolve in scope, it has the possibility to bring fresh perspectives and imaginative narratives to life in animated form. The upcoming television series Promise of Wizard from Bunta Tsushimi set for release in early 2025, promises to be yet another groundbreaking addition to this vibrant animated genre.
Read MoreDrawing is a skill honed through practice and passion. While natural talent gives some an edge, those willing to invest time and effort can learn to draw. Whether you are naturally gifted or diligently learning, a good drawing kit is vital — not just for beginners but for experienced artists and animators refining their skills. As this blog post argues, each tool in an artist's kit serves a unique purpose, helping an animator achieve a high level of precision, depth, and creativity. Let’s dive into the ten must-have tools and why they are essential for every artist.
Read MoreAlthough the action genre may seem like nothing more than pure spectacle, there are very specific methods employed by action films to elicit these reactions and assumptions from the audience. Redline (2009), directed by Takeshi Koike, is a Japanese anime film that uses these techniques expertly. Action-packed in every sense of the word, Redline follows the story of Sweet JP, a racer with dreams of winning the infamous Redline race. However, he must overcome the mafia, authoritarian governments, and other deadly racers to achieve his goals.
Read MoreBased and inspired by Arabian Nights and other 13th-century folklore, The Thief and the Cobbler (1995) directed by legendary animator Richard Williams follows the parallel stories of a shy cobbler named Tack and a nameless kleptomaniac thief. Tack falls in love with the beautiful Princess Yum Yum of the Golden City after she saves him from the wrath of the grand vizier Zig Zag. Together, they must save their kingdom from death and destruction by retrieve the 3 golden balls that protect the city after the thief's failed attempt at stealing them, causing them to fall into the hands of Zig Zag who plans to marry princess Yum-Yum and rule the city.
Read MoreIn 2019, MORE Productions was contemplating its first animated film project. Having worked on live-action features like The Ticket (2016) with Dan Stevens and Martin Scorsese’s Silence (2016), MORE’s co-producers Mark Rodgers and Mandi Hart knew the world of live-action filmmaking well. They also knew it was not the best creative choice for the story they were seeking to tell - the story of 21 men (twenty Coptic Egyptians, one Ghanaian) kidnapped, tortured and ultimately martyred by ISIS in an infamous video published on February 15, 2015.
Read MoreWith Watership Down (Martin Rosen, 1978) newly restored in 4K by the British Film Institute, it’s an appropriate time to reflect on rabbits in animation. From Bugs Bunny to the recent Peter Rabbit films (Will Gluck, 2018-2021), rabbits can be found everywhere within the history of animation. But animation also has a problem with representing these bob-tailed creatures. I was crudely reminded of this about two-thirds into DreamWorks’ latest animated release, The Wild Robot (Chris Sanders, 2024), when something caught my eye that briefly took me out of the film. The film is set on a remote island inhabited only by the titular robot and an assortment of wildlife, including a rabbit or two. In a blink-and-you’ll-miss-it moment approaching the film’s final act, one of the rabbits raises their front paws, revealing soft pink pads on the undersides of their feet.
Read MorePopular media has often portrayed technology as a looming threat to society and human livelihood. However, animation as a medium has provided a unique lens through which to explore the nuances of humanity's interaction with technological forces. Brad Bird's feature The Iron Giant (1999) stands as a poignant example of this exploration. By analyzing the use of hybrid animation techniques and storytelling in the film, I aim to unravel a metaphorical narrative that delves into humanity's relationship with technology, as well as its modern-day resonance with perceptions of artificial intelligence (AI) and assumptions on the threat of machine learning to humanity.
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