Many films and animation could have been based on comics based on the already existing material. There’s a fanbase behind these comics, already existing characters, stories, art styles, worlds that have yet to be uncovered in animation yet were trapped on the paper originally conceived on. It allows these characters to immerse and root themselves deeper into the viewer as a building block to the animation that was to come based off of it.
Niko Agard
6 posts
The film uses sound to emphasize action through its synchronization by allowing characters to vocalize their emotion better. Whether this be from Micky laughing, Minnie screaming when being left behind, or something as small as the whistles on the boat being a higher pitch to exaggerate the idea of catching up to the melody while being animated of them blowing air. All of these reveal the emotions of the characters, what they feel in the moment, and how we as the audience should feel when seeing how they move, accompanied by how they sound.
I will focus on the history of Popeye the Sailor. While I’ve seen some of it growing up, the style of Popeye and the elements from its story and animation have always gravitated me to it.
The things that I plan to focus on are the history of Popeye, when it comes to his character and his creation, alongside his inception into media. I want to also focus on the usage of the principles of animation, specifically squash and stretch, anticipation, and follow through, along with how they use it compared to other parts of media at the time.
“Fantasmagorie” wouldn’t be an experience that could ever be forgotten. The sensitivity of such a performance has the audience almost living the experience as if they are a part of it, not just a show. The essence of the show in a time as early as 1797 astounds me to this day, with the only thing that I could compare such to is Virtual Reality. While I can compare the two though, the experiences and methods that Robertson used during his shows, still haven’t even been replicated in that, its a once in a lifetime attraction, one which still has to have a candle match its flame, and one which still can not be outshined, even through our resources of today
I’ve been watching One Piece as of late, and one episode that stood out to me based on its animation style was special, the One Piece: Fan Letter (2024) episode. It was an episode directed by Megumi Ishitani, an Animation Director under Toei Animation. Her art style simplifies the linework, focusing on the fluidity of the animation and the volume of the drawings despite its simplistic art style, creating complexity through its movement.
While there are no awards for the standalone episodes that she has directed, in my opinion, the episode heavily impacted me as the loose adaptation of Tomohito Ohsaki’s writing of the side story emphasized an outsider view into this fantasy world emotionally, even though being inside of it, as it focuses characters that would normally be in the background of the story. It creates a moment of resonance as being this grounded, almost puts you in this world. Complemented by Ishitani’s directing and the animation of her team, it became a story that held a lot more emotional weight through the fluidity and composition.
Hi, I’m Niko. I picked this course due to my studying of animation and game design, being directed to this course by my advisor as something which I can gain from, My two favorite types of animation are heavy Sakuga (Standout Quality) Scenes from a lot of Japanese anime, and limited 3D animation. My major is Game Design and Character Animation under CUNY BA, where hopefully I can land myself a job at some studios to produce work for them while I focus on my main passion project. As for my main hobby, its really to write stories and create characters, storyboarding scenes that I can hopefully transfer into passion projects in the future. Nice to meet you all!
