Week 3: Fantasia

The origin of a famous mouse’s feature-length debut and much more.

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This week’s Disney movie watch is none other than Fantasia, a bold experiment that started initially as a way to promote a certain famous mouse.

The Lowdown:

Film: Fantasia

Studio/year released: Walt Disney Animation, 1940

AniB’s thoughts:

Ah, Fantasia. The third film from Walt Disney was both an ambitious undertaking and unfortunately, a financial flop- but to this day endures as one of the most iconic and noteworthy pieces of animation ever created. As the war in Europe was in full swing at this point (the German blitzkrieg overrunning France at this point in time), this was the primary cause of the financial woes for the film and the studio at the time, given the inability to screen the production overseas.

As for the movie itself, it was a groundbreaking achievement in the field of animation. Crafted as a meeting of classical music and the animated form, Fantasia was crafted to “picture the music…not the music fitting the picture,” according to Disney himself. Originally conceived as a way to get Mickey Mouse back in the spotlight (yes, at one point the mouse had flagging popularity and needed a popularity boost), the now-iconic sequence with the Sorcerer’s Apprentice evolved from an elaborate Silly Symphony into the centerpiece of an entire feature film. For the first time here, Mickey was redesigned with pupils in his eyes- to give him more expression- and this was clearly the most classic animated short in what amounted to the first feature-length animated anthology film.

The visualization of music that Walt Disney foresaw was some groundbreaking work, forged as a collaboration between Leopold Stokowski, the conductor of the Philadelphia Philharmonic, and the studio, was not only borne of a mutual desire, but the ballooning costs of the already ambitious Mickey Mouse-standalone piece. In turn, the idea for what would initially be called the “Concert Feature” came into being as a feature length film, with each animated segment being see to famous classical pieces, complete with a master of ceremonies in Deems Taylor, a famous music critic at the time.

From this writer’s perspective, Fantasia continues to hold its luster nearly 80 years later, as innovative and creative now as it was then. Water animation- a technique unveiled earlier in the year by Pinocchio, was on full display in a number of the shorts through this film, and extensive research was done for each segment, from the dances in Nutcracker Suite to the animal designs in Dance of the Hours. Each segment could probably be a whole essay in itself, but each embodies the idea Disney saw fit for the film- and is truly a unique sort of animated film even now.


Animation: Classical 2-D animation, with highly innovative techniques for the period. There was a real push to bring the music to life in animated form, and Fantasia succeeded at that; there was a mix of classical and abstract ideas together on the screen and the animation laid all out clearly; it worked in lockstep to drive each story with the music. This film is still a masterpiece in that regard. 5/5 points.

Characters: In contrast to the majority of films (not just animation), this category is difficult to evaluate for Fantasia largely because of how the movie is structured and the content of each segment. It’s more of classical music set against these sweeping set-piece ideas, and aside from Mickey Mouse himself in the one segment, it doesn’t make a lot of sense to evaluate characters in the traditional sense.

However, the ideas performed on screen, and the innovative marriage of a live orchestra doing this program set to all these worlds and ideas was truly something else from Walt Disney. In lieu of a traditional character evaluation, I must give credit to the sheer creative ambition that was executed on screen in bringing these ideas to life with cutting-edge animation of the day and the musical collaboration. 5/5 points.

Story: This is actually an anthology film- the first of its kind in animation. Each individual segment focuses on a different famous classical song (or two) and sets its action in a way that personifies the music. It’s much more of a thinking man’s kind of movie in that it’s not actually about something insofar as it is about creative ways in which music tells its story. Think about this example: people always are thinking about what music means, or what images it stirs up in their head, or what the message might be. This is a visual representation as done by Disney and that is creative to this day. Now that said, some segments are definitely stronger than others- though of the non- Sorcerer’s Apprentice ones A Night on Bald Mountain may be the most famous. 4.5/5 points.

Themes: This thematic evalution is what you make of it, and what you get out of the music, I suppose. There isn’t a lot of themes, per se to dig into aside from whatever the action on screen portrays, and while entertaining, I’m not sure there’s a lot to pull from dancing hippos or happy cupids. 2.5/5 points.

Don’t Insult the Viewer: Creative, masterfully animated and meticulously crafted, there’s no doubt of the care that went into this film. It’s got some minor pacing issues for the modern viewer probably, but overall it’s meant to be essentially a full concert program set to animation. 4.75/5 points.

Overall: 21.75/25 (87%): A visually stunning masterwork for its time, this film is quite unlike any other Disney production before or after, and perhaps embodied the spirit of Disney’s innovative nature better than any other film in the canon. While difficult to evaluate in its entirety, it is an essential piece of animation history and a key part of the Disney story.


Like what you see? Are you a Fantasia fan? Leave a comment!

 

Review: SSSS.Gridman

Trigger’s fall offering revives an old franchise.

Well, the first anime review of 2019 is here! I’m reviewing an show that just wrapped up around Christmastime- Trigger’s S.S.S.S. Gridman, the popular mecha offering of the fall anime season. Let’s get to it.

The Lowdown:

Show: S.S.S.S. Gridman

Studio/year released: Trigger, 2018:

AniB’s thoughts:

Color me surprised at what turned out to be a great little watch. Gridman was a pick that I started solely due to a friend’s suggestion in passing, and in turn I was treated to a show that while vividly strange on many levels, was also satisfying, with an interesting set of characters, some high stakes and a killer opening. Yes, you’ve probably heard about this show in passing if you’re a hardcore anime fan if for no other reason that it contained two of fall 2018’s most popular girls in Rikka Takarada and Akane Shinjo.

Gridman’s core premise at first seems simple, steeped in a mystery: a boy named Yuta Hibiki wakes up with apparent amnesia, only to find his way into Rikka’s home- a junk shop- where on the aptly named “Junk” computer, he recalls he’s the pilot of Gridman- a computerized mecha agent that when connected to Yuta via an “Access Code”, the duo materializes as the actual mecha GRIDMAN, who has the power to slay kaiju and all sorts of stuff you might expect from this sort of show.

The one behind these kaiju though, is none other than Akane Shinjo, with the backing of the mysterious Alexis Kerib- a shady-looking character if there ever was one. Akane’s role in this show is strange in hindsight, but the setting and premise of Gridman is anything but conventional, and so it works, although I don’t doubt Akane’s true purpose might leave you a bit incredulous at first.

To me, this was a show that was full of the unexpected; the pretense of normality set against something very abnormal and foreign all at the same time. There was a sense the veneer of reality could be shattered at any moment in Gridman, and indeed, this juxtaposition was front and center as everyday events existed in this strange world alongside the reality of kaiju battles (which initially, only team Gridman and Akane are aware of). I think the originality of this outing, along with some easter eggs and treats thrown in for the original Gridman fans from the 90’s anime, makes for a fun outing, and it’s certainly an easy enough show to pick up even if you’re not a big mecha fan or deeply into the lore of such series or the genre at large.


Animation: Modern 2-D anime. In this outing, Trigger pulled way back on the fanservice (though not entirely) while preserving their otherwise typically gorgeous animation, which popped. Additionally, there was a healthy amount of 3-D animation with the mech battles…and it worked quite well.  4.75/5 points.

Characterization: There’s a concise main cast, featuring the leads of the so-called “Team Gridman”- Yuta Hibiki, ​Rikka Takarada, and Shou Utsumi; their main opposition in Akane Shinjo, and supporting these four are Gridman himself, the rest of team Gridman- featuring a mysterious group of men and women that help out the mech in his battles, transforming into weapons support, and Anti- a mysterious boy with an undying vendetta against Gridman that is all consuming.

Anyone who followed this show with any consistency knew the growing popularity of the new Trigger girls in Rikka and Akane, and while this is an aspect that really matters not one iota to the actual show’s content, it was something worth noting in the general context of following the series as it rolled along. Akane played a very spoiler-specific role, but appears right away as a popular girl and a kaiju creator. Rikka on the other hand, initially finds an amnesiac Yuta and brings him to her home- the junk shop operated by her mother.

Yuta’s a pretty standard mecha protagonist. There’s not a lot to say about him, although more specific details would be tantamount to spoilers for those who haven’t seen Gridman.

Anti is an interesting character with a spoiler heavy-arc, but as noted, he appears mysteriously one day with a drive to destroy Gridman, and an appetite to match. His role shifts as the series moves on, and while his initial characterization is reminiscent of Viral from Gurren Lagann, he’s a bit unique as well. 4/5 points.

Story: Big, overarching plot that has mecha, sci-fi and some really meta sort of elements to it, Gridman is both complex and convuluted; a mecha show that is at once true to the genre and something else entirely at the same time. How one reacts to the bigger picture here may affect how one views the overall narrative of Gridman, but regardless, it packs plenty of unexpected twists, turns and some incredible action and hype within that package. 3.75/5 points.

Themes: There’s some existentialism hanging out in this watch, and I think a lot of what makes the show intriguing, aside from highlight-reel mech fights is the characters’ struggles with their emotions and their place in a world that seems at once familiar and yet foreign. “Identity”, therefore along with “sense of self” forms a major part of the thematic crux in this show, and the resolutions to these questions often hold the answers as well. 3.75/5 points.

Don’t Insult the Viewer: A frenetically paced environment with plenty of good twists and turns, Gridman is a solid watch, which also had a conscious decision to only play music at very key moments (and this was noticeable.) Trigger also notably held back on excessive fanservice here, which really worked out in hindsight.  4.75/5 points.

Overall: 21/25 (84%): A surprisingly thoughtful sort of anime, mixed with all the action and “hype” you might expect from an anime in this genre, Trigger delivered something that was reasonably good and not dripping in fanservice the whole time either. It’s worth checking out.


Like what you see? Did you watch Gridman this past fall? Leave a comment!

 

Week 2: Pinocchio

When you wish upon a star, sometimes you get a review.

Continuing on in the Walt Disney Animation canon, Pinocchio is yet another beloved film in the series, and a truly iconic film: it was another groundbreaking effort, and one that was fun to jump into again.

The Lowdown:

Film: Pinocchio

Studio/year released: Walt Disney Animation, 1940

AniB’s thoughts:

Another week, another Walt Disney-era classic, and in this case, quite possibly the most famous of the lot. The classic tale of Geppetto’s wooden puppet coming to life still is a vivid, intense movie, with a lot of animated gold spun into it, from ambitious new techniques used on screen, to the vivid, different settings brought to life with vigor.

Pinocchio, despite its legacy and fame in the animated canon, was initially a box-office flop- a fact that would hold true for quite a few films in the early years until Cinderella came along. A 1945 re-release saw greater success for the film though, and via constant re-screening and other related methods, Pinocchio continued to ingrain itself in the public’s conscience. It also was a big award winner back when it was released, and of course, it was where the timeless classic “When You Wish Upon a Star” originated from. To this day, Disney continues to use the piece as a de-facto sort of theme song- and can you blame them? Its lyrics basically embody the ideal creative ideas of the company…or at least, the general enthusiasm of generations of Mouseketeers.

From my point of view, it had been quite a while since I’d seen the movie, and by “a while” I mean probably close to 20 years. You tend to remember some of the more famous details- Pleasure Island, Jiminy Cricket’s role as Pinocchio’s “conscience,” and even Monstro the whale- but the how and why gets fuzzy. In turn, revisiting the film is almost like watching something completely new all over again, and that brings its own excitement. I was pleasantly thrilled by the smooth animation and the sort of mastery and love that was obviously put into this film, showcasing a glimpse again into the brilliance of Walt Disney the animator and producer- which carried over from watching Snow White previously.

One other surprising note I wanted to make was actually on the role of Jiminy Cricket in this film. Famous for being the voice of reason and conscience for Pinocchio (and within Disney-themed things), he’s actually shockingly inefficient and negligent at his job in plenty of ways, at least in this film. He’s still a good chap, but I suppose that’s what happens when a hobo cricket is given the role by a kind blue fairy. Still love the guy though- and he’s a fine narrator as well!


Animation: Classic, hand-drawn 2-D animation. As only the second full-length animated film in history (after Snow White), Pinocchio was ambitious, from portraying various locales and environments, be it Gepetto’s shop crammed full of clocks and other woodworks, to the deadly trap known as Pleasure Island, and even to the bottom of the sea. The film also was cutting edge, experimenting with water effects and even the illusion of 3-D movement within a 2-D picture, which added depth and dynamism to the picture. Even today, the movie looks great, and given that it was still yet another step up from Snow White, a groundbreaking film in its own right, it deserves some major plaudits. 5/5 points.

Characters: The first of Disney’s famous duos originated here- the puppet boy Pinocchio, brought to life by a wish, and Jiminy Cricket, a lucky down-on-his luck cricket who happened to be in the right place at the right time to become the boy’s conscience.

Pinocchio himself is the picture of naive innocence in this film, which is largely a number of trials which sees the good-natured puppet led astray by a variety of shady characters, from the ironically named “Honest” John, a crooked fox involved in black market trading, to Stromboli, a greasy, greedy puppeteer with little concern other than money and food. Despite a variety of hardships, Pinocchio does continue to try and reach his goal of being “a real boy” via certain virtues, and in the end, is successful during his bold rescue plan to save Gepetto from the belly of the whale Monstro, all while learning valuable lessons about life.

On the other hand, Jiminy is an “aw-shucks” kind of guy, and in a way, his often short-sighted and negligent behavior may have in some way embodied Cliff Edwards, his voice actor (and one-time famous singer) who was noted for having issues in his personal life. It is Jiminy who sings the rendition of “When You Wish Upon a Star” in this film, and this in turn may be Edwards’ most lasting memento.

Prior to Pinocchio coming to life, Geppetto lived quietly with his two pets, Figaro and Cleo. The duo, a cat and a goldfish, were the first “animal companions” in the Disney library, and served as faithful partners to their master through the film. Figaro in particular had an interesting history- Walt Disney himself took a liking to the kitten to the point that he became Minnie Mouse’s official cat outside of this film, and also made subsequent appearances in other Disney-related productions.

The film also has a variety of villain characters rather than just one fixed big bad, like the Queen from Snow White. This was likely in part to show the variety of temptations and sin that Pinocchio could stumble down, and was embodied in characters like “Honest” John and his cat cohort, Gideon, or Stromboli, the evil puppeteer.

(There’s also poor Lampwick, perhaps the most unfortunate soul in one of these Disney films with his fate. Yikes.) 4.75/5 points.

Story: Simple and straightforward, but with plenty of meat to it, Pinocchio is an adaptation of the children’s story “The Adventures of Pinocchio,” an 1893 story. The Disney version here has a lot of whimsy and color to it, pushing the naive puppet boy into wildly different and harrowing situations, with Jiminy Cricket in tow and a rightfully concerned Geppetto out in the hopes of finding his Pinocchio. Perhaps the most harrowing encounter (aside from the movie’s big climactic escape from Monstro) is Pleasure Island- a place with horrifying implications even today, between the transformation of boys into donkeys, and then said donkeys being shipped off for literal slave labor in salt mines (it does stay this explicitly in the film). It’s a remarkably ambitious sort of moral lesson for a kid like Pinocchio to learn- and one that both leaned towards innovation and a willingness to tell a much richer story as it saw fit. 4.5/5 points.

Themes: The joy of a wish and parenthood. The implications of having a conscience, and the difference between a well-informed one and a naive one. The startling implications of going down the easy path of temptation into harrowing, prickly situations. All these ideas are laid out clearly, but vividly and in an entertaining story even years later, and it still shines through today- the mark of a truly effective film. 4.25/5 points.

Don’t Insult the Viewer: This is an intense film, especially for the youngest viewers if I had to guess. Pleasure Island in particular has some imagery you’d never get away with now in a film, such as Indian tobacco and drinking on screen by minors, but overall the film is superb and a great slice of animation history. 4.5/5 points.

Overall: 23/25 (92%): While Walt Disney was at the helm for quite a few of the early classics in the canon, Pinocchio staked its claim early on as one of the studio’s greatest films; revolutionary in its day, only betrayed by an initially bad box-office performance, and beloved by generations for its iconic characters and keynote song. When you wish upon a star…you might just get a classic film.


Like what you see? Big Pinocchio fan? Enjoying the Disney animation countdown? Leave a comment!

What’s In a Character: Vanellope von Schweetz

The spunky Sugar Rush racer revs up her engine for the spotlight.

With the new year comes new character pieces! It has been quite a while since one of these appeared, but between reviewing both Wreck-It Ralph films and the brief highlight on Vanellope in my end-of-year character pick-5, I found myself extremely compelled to write about the little candy racer. So “why” Vanellope, aside from being “a real racer”? There’s plenty of reasons, and hopefully, you’ll find several sweet layers here, like the layers of a jawbreaker.

(Major SPOILERS for Wreck-It Ralph and Ralph Breaks the Internet.)

 

“I’m already a real racer. And I’m gonna win.”- Vanellope, when Ralph tells her she just has to cross the finish line in her first race to reset Sugar Rush

Part sweet little girl, part candy and part sharp-flavored adventure with a hint of Sarah Silverman, Vanellope is a handful, regardless of your own opinion on her. A crack racer and the unlikely best friend of 80’s arcade villain Wreck-It Ralph, her story is interesting precisely of how relationship dynamics form and emerge in her story, playing an integral part in her development as a character and an individual.

A large part of the reason Vanellope has so much to analyze is that she gets two movies’ worth of character development as opposed to just one. In turn, her story shifts from a plucky outcast to someone who comes of age in the hopes of gaining a bigger dream- but in the process, forced to make some tough decisions as well. At the center of these decisions is ultimately her relationship with Ralph- and how that is impacted, both through her actions and those of the wrecker, neither of which necessarily occur in a vacuum.

“You’re not from here, are you?”- Vanellope von Schweetz, upon first meeting Wreck-It Ralph

The first film sees Vanellope as she initially was- an individual hardened by the life she was forced to live under King Candy’s sugar-coated fist in Sugar Rush. Beyond just being an outcast, she was also a full-on criminal as decreed by the corrupt regime, and so regardless of what her initial disposition might have been like (we have no idea, her game has been plugged in 15 years by that point), she’s got a sharp tongue of sarcasm and wit no doubt honed from dealing with hostile individuals constantly. Therefore, her initial meeting with Ralph makes perfect sense- she had a) no perspective on the wrecker or why exactly a medal would be so important to him (she even asks what the big deal about the “crummy medal” is later in the film) and b) she had never encountered anyone vaguely kind to her, by virtue of being isolated in Sugar Rush for her whole existence, along with King Candy’s attempt to delete her code, which left her with her signature “glitch” and a stigma of ostracization.

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“C’mon, do we have a deal or not? My arm’s getting tired.”- Vanellope, when her and Ralph agree to work together for the first time

The duo bonds over the unlikely bond they wind up sharing in feeling socially outcast from the games they hail from- Vanellope, for reasons already outlined and Ralph due to his treatment as a “bad guy” even outside of game hours, where he’s really not a bad guy, per se. However, it takes some time for this partnership to actually develop into a meaningful relationship, given that it’s a agreement initially born of mutual interest, even moreso to Ralph, self-absorbed in his medal quest- but the language Vanellope uses to strike the deal (“what do you say, friend?”) suggests that while she also has a mutual goal (become a real racer with a real kart) she was more open to the idea towards actually wanting a relationship, given it was likely the first act of kindness she’d known- in this case, Ralph scaring off the other Sugar Rush racers who had destroyed her homemade cart.

While Vanellope’s tale is largely one featuring her relationship with Ralph, the first movie also see her in an interesting dynamic with King Candy- the treacherous ruler of the game who in turn is actually the old rogue racer Turbo alluded to throughout the film. The villain goes to extreme lengths to try and literally kill her, first by attempting to delete her code, and when that fails, turns her into a state criminal while also locking up the memories of everyone else in Sugar Rush to suppress both his own misdeed and Vanellope’s true identity as the princess of the game. While Candy is ultimately defeated by Ralph at the climax, his megalomaniac tendencies are brought into an even sharper light by the hard-luck but innocent Vanellope, and nowhere is this in sharper contrast when Turbo is finally revealed in the climax of the final race.

 

If it was really one and done for films with Wreck-It Ralph, Vanellope would have still been a fine character with a satisfying arc that occurred, but she, along with Ralph, got a chance at a sequel which allowed for an even more in-depth exploration of the relationship that had been built by the end of the original film. In this way, the little racer hit the jackpot: a followup movie which actually did exactly what you’d hope to see in a developing relationship dynamic, and the fact that said followup film was both quite good (here’s the review) and that Disney rarely does official sequels. Talk about luck.

“Do you ever think about how we’re just bits of code, 0’s and 1’s? What if there’s more out there?”- Vanellope, pondering greater possibilities to Ralph.

With a slight real-world time skip of 6 years (the exact frame between Wreck-It Ralph and Ralph Breaks the Internet), Vanellope and Ralph have developed a comfortable routine- one that is genuinely perfection on some level for the latter, but starting to get boring for the former. It’s true the duo greatly enjoyed each other’s company, but Vanellope had long since grown bored of the place where she’d once been imprisoned, and as the game’s best racer, she’d become the proverbial “big fish in a small pond.” Enter one broken steering wheel and the introduction of WiFi to Litwak’s Arcade, and the impetus for things to take off was in place.

It’s clear from the start the candy-haired racer is open to change in her life, from her excitement at going into the internet, to her eye-opening interest in Slaughter Race, and even her humorous foray into a room full of Disney princesses. It’s true that she set out to save her game with Ralph, but in the process, she’d found a bigger world, and like a young adult searching out careers and dreams, she wanted to take her racing talents to a bigger level and a platform that would keep her excited every day. Of course, with that realization came the difficult fact that her relationship with Ralph- who she virtually spent all of her time with- would have to change, and while Vanellope accepted this would have to happen quickly enough, the Fix-It Felix, Jr. bad guy had quite a few more struggles with it.

Ralph’s genuine care for Vanellope as his friend devolves to a certain point where the original goal (the steering wheel) is in question whether it’s for Vanellope or his own self-interest. The wrecker is content in routine and happy in his own way. He can’t comprehend Vanellope finding a different dream or something bigger than what she knew, and resistance to that major change fuel Ralph’s childish and ultimately dangerous actions, or namely, his emotional insecurities, which become visually represented by the monstrous viral Ralph clones, and later, the King Kong Ralph homage.

“You really are a bad guy.”- Vanellope, after Ralph crushes her kart in Wreck-It Ralph

Ralph’s betrayals hurting Vanellope on a fundamental level in both films makes a lot of sense, not only from a realistic human perspective, but given the amount of faith and trust she put into the big guy for it to be betrayed. Between the crushing of the candy kart and the reveal that Ralph unleashed the dangerous virus upon Slaughter Race, both scenes are two of the most emotionally painful things between both films, and both times, Ralph acts out of a certain ignorance- but the intent differs. In Wreck-It Ralph, Ralph truly believes he’s done the right thing, and Vanellope’s pain comes from the one person she now saw as a hero (she gave her homemade medal right before, which really makes this hurt) betray her and destroy her dreams at the time. By contrast, the betrayal in Ralph Breaks the Internet is not caused in part from an outside party, like King Candy- but rather, Ralph’s own-self centeredness and insecurity over the idea of losing Vanellope. And in turn, the reaction is even more crushing, when the same medal that Ralph kept all those years is chucked into the abyss of the web, broken in two, symbolizing a permanent change in that relationship. In both instances, there is forgiveness- but again, the context differs as a contrite Ralph returns to help Vanellope after admitting his mistake with a fixed kart and a sincere apology in the first film, while the sequel instead sees Ralph accept change and in turn, allows Vanellope to do her own thing.

By the end of Ralph Breaks the Internet, Vanellope has transformed into someone who’s grown up a bit, even if her physical appearance hasn’t changed. Perhaps in a way that’s a metaphor for parent who always see their kids as they were, rather than how they look grown-up, and indeed, while she and Ralph are the best of friends, the relationship is more like that of an older brother and sister or even a father to a daughter at times. The long-distance relationship the duo maintains by the time the film ends hits hard after the emotional buildup and goodbye in this movie- while mirroring the ending of Wreck-It Ralph’s parting hug in Sugar Rush, this occasion is much more bittersweet. It’s the real human connection of change- and it’s inherently not easy to digest, even if it represents real growth in one’s own life or relationships. Furthermore, it represents something much more quiet and contemplative than anything else we’d actually seen from Vanellope and Ralph over the rest of the two films, with a maturity that is surprisingly complex.

The dynamic duo. Changed, but stronger for it.

Whatever her circumstances,  “the glitch” proved to have both a mental fortitude and conviction that served her well. There was something natural in a way about her leaving Sugar Rush by the end purely from a character perspective standpoint- here was a game she was once unable to leave at all, she grew to dominate its raceways to the point of boredom, and now she left it it for good, with a much bigger world out there to explore. Her friendship with Ralph, integral to her character, was both organic and beautifully executed, showcasing both a loving bond- but also one that was severely tested and continued to change with the characters. But Vanellope was also adorable, which didn’t hurt, but looks alone don’t win you an in-depth character piece, or a chance to pursue dreams, or even the ability to be an incredible race car driver. Make no mistake, the deuteragonist of Wreck-It Ralph and arguably the co-lead of Ralph Breaks the Internet is a remarkably developed character, with an arc that is worth watching and re-watching again.


Like what you see? Big fan of Wreck-It Ralph or Vanellope? Leave a comment!

 

AniB’s State of the Blog: 2019!

Hi everyone!

It’s very exciting to be embarking on the new year, and with that in mind, it’s time for the first official update announcement from me in a while! I’ve got some big plans for this upcoming year with any luck, starting with the headliner: I’m going to be covering every official film in the Walt Disney Animation studio canon!

That’s right, every film. I’m looking to make a year-long series on the 57 current films in the canon, starting from Snow White and going all the way to Ralph Break the Internet (which I’ll write something else about when the time comes, given my recent review here.) It should be a good bit of fun, I think, and aside from just reviews and analysis, it should actually allow me to make a ranking of all these films by the end. Despite my knowledge in animation, I can’t honestly say I’ve seen every last one of these films, or even know all of them as well as I’d like, so it should be an excellent experience!

Of course, this announcement doesn’t mean I’ll be abandoning my usual pieces on shows, or anime. I have plenty of new ideas to try and bring to everyone this upcoming year, and as always, it should be fun discovering new shows as I go along. I’m also pleased to announce that new character pieces will be coming in 2019; it’s been a while since I released one of the highly popular analyses (which was Daffy Duck, back in the summer of 2018), so I’m eager to take a deep dive into some new characters. Stay tuned!

Aside from my own general plans being laid out for this year, I wanted to give a big thank you to everyone who has read my stuff, commented and been supportive over the nearly 2 years now that I’ve run AniB Productions. It is immeasurably special to share in this adventure with all of you, and I’m eager to keep digging into the world of animation “from a unique perspective,” just as I promised from Day 1. I wish everyone a Happy New Year, and I couldn’t be more excited to keep writing as the final year of the decade begins!

-Christian, aka “AniB”


Suggestions for the new year to write? Shows to cover? Characters to analyze? Leave a comment!

 

Happy New Year! 5 Characters I liked from things I watched in 2018

A quick pick of some good characters .

Alright, so today’s a more informal post for the first time in a while. I’ve been banging out a lot of reviews, so with the year coming to a close and 2019 starting, it seemed like a fun idea to look back on 5 characters I really liked from things I watched this year. That could be movies or shows, East or West- but animated, as always. (Before anyone asks: Killua is an all-time favorite. There’s also a character piece I did. Check it out if you haven’t!) There was plenty to choose from, as it’s been an action-packed year of viewing, so here we go!


Vanellope von Schweetz (Wreck-It Ralph, Ralph Breaks the Internet):

Honestly, I could (and probably will) give the sweet little racer from Disney’s Wreck-It Ralph films the full “What’s in a Character” treatment at some point, especially with 2 full movies’ worth of excellent character development, but Vanellope re-entered the scope of my mind with the sequel. A superbly fun character (voiced by Sarah Silverman, of all people) with a terrific dynamic that she has with Ralph, the regent of Sugar Rush is a surprisingly complex character, bundled into an adorable bundle of messy hair, a signature green hoodie, and boundless energy.

Yukko Aioi (Nichijou):

Nichijou, while a 2011 release in real-time, came into my life in a big way in 2018. While the many charming, quirky characters on the cast might all warrant some kind of mention, Yukko’s brand of terrible luck, persistent attempts at humor and futile battle against schoolwork all while never giving up is something to behold. Silly as Nichijou can be, it has smart moments of some pretty deep and touching stuff, and while Yukko isn’t a genius, she is someone who can be a great friend- and it’s through her actions that the robot girl Nano Shinonome is able to find comfort in the transition to being a schoolgirl, and her surprisingly up and down relationship with Mio Naganohara is a great joy of humor to watch unfold.

Anti (SSSS.Gridman):

Beyond the anime public’s adoring gaze upon Rikka Takarada and Akane Shinjo, the breakout character of this cast was none other than this man- a one-time kaiju whose initial casting drew a strong resemblance to Viral from Gurren Lagann. As time went on though, Anti’s varying hardships, coupled with his persistence in his goals (which originally was a single-minded, and I do mean single-minded obsession to destroy Gridman) found him both a strangely sympathetic character and a likable one who also delivered some major hype in a show you’d expect to have plenty of it. By the end of Gridman, Viral has undergone a complete character arc and transformation- and that, perhaps more than anything else in the show, is why he’s on this list.

Jack-Jack Parr (The Incredibles, Incredibles 2):

The youngest member of the Parr family had his big-screen coming out party this past year, where he transformed from a bit part in the original Incredibles film to a more active role, with a great deal of comedy and humor. From his backyard brawl with a raccoon to his unlikely heroics at the climax of Incredibles 2, Jack-Jack was about as humanly entertaining as you can make a baby character without him becoming annoying. No small feat there.

Kōhei Inuzuka (Sweetness and Lightning)

Father to the adorable Tsumugi in this sweet little slice of life anime, Kōhei struck me as interesting precisely because of his balancing act between being a good father (in the stead of his recently deceased wife) and his career as a teacher, which was handled with a lot of tact and care. While this show released back in 2016, it’s still worth going back to take a look (and here was my review of it.) This man’s selfless care, despite all the challenges he faces regularly, is a treat to watch, and a character archetype that seems far too scarce at time. Good dads (and parents) are never out of style!


So there’s my pick-5 for the past year. I hope everyone had a great 2018, and here’s a happy New Year as we get into 2019! I’m looking forward to another fantastic year here on AniB Productions, and to the excitement of my readers as they continue to grow. Feel free to leave a comment!

Day 15: A Brief Interlude

Hi all,

My laptop needed to go in for service, which really dashed something I wanted to write about today (and you will all get!) With that in mind, we’re in that final 12 day stretch before Christmas and I wanted to hear from you, the readers, on how this Advent Calendar countdown is going, and any sort of content you may really want to see as the big day draws nearer. With any luck, my technical difficulties will be resolved shortly, but in the meantime I’m looking forward to the comments here, both on how it’s gone and where people might want it to go. Don’t worry- I still have plenty of ideas on my own end, and at worst, any other ideas that don’t get used now will still be considered and probably used in a future piece, countdown or not.

Thank you again for all the support; the floor is yours.

-AniB