kairos-trailer2 kairos-trailer2

“Kairos” is the Most Exciting Hand-Drawn Animation You’ll See Today

What’s that? You say that no one is making exciting 2D animation anymore? You say that you’d like to see some drawn animation that’s so fun and entertaining it’ll bring tears to your eyes? Well, we have just the thing for you. Kairos is a one-of-a-kind action-packed trailer for a new French comic book that looks pretty amazing in its own right.

The promo was produced by Studio La Cachette, a young Paris-based outfit founded by four Gobelins graduates: Nuno Alves Rodgrigues, Oussama Bouacheria, Julien Chheng, and Ulysse Malassagne.

Réalisation & Production: Studio La Cachette

Idée Originale & Direction Artistique: Ulysse Malassagne

Storyboard: Oussama Bouacheria

Dévelopement Visuel: Nuno Alves Rodrigues, Alice Dieudonné, Julien Chheng, Ulysse Malassagne, Rémi Salmon

Animation: Nuno Alves Rodrigues, Oussama Bouacheria, Alice Bissonnet, Julien Chheng, Hanne Galvez, Rachid Guendouze, Sandrine Han Jin Kuang, Ulysse Malassagne, Stéphanie Mercier, Bung Nguyen, Stéphanie Pavoine, Julien Perron

Décors: Alice Dieudonné, Ulysse Malassagne

Compositing: Ulysse Malassagne

Design Sonore et Mixage: Florian Calmer

Musique: X-Ray Dog

  • WOW. Thank you for sharing. Beautiful.

  • MRKid

    2D animation will be back in business (read: the forefront) again in less than 5 years. The new generation wants it and they will lead the way. Paperman can be seen as a hint as the CGI world knows that as it stands now, it’s too clean. Too polished. Oh and yes…sweet trailer.

    • jonhanson

      I certainly hope you’re right!

      Although at this point I just hope there’s any sort of decent animation industry in 5 years…

    • jmahon

      I love 2D animation too, but after a while, the constant onslaught of “3D animation is fake and is replacing 2D, I hate it”, is starting to get on my nerves a little bit. To compare 3D animation to 2D animation isn’t really fair, I find people don’t understand what goes into the creation of 3D animation and only fondly remember the Disney trailers with animators happily doodling at their desks, and showing people a graph editor for 3D isn’t as pretty looking. I’d compare 3D animation more with Stopmo than I would 2D, but despite all that….. I love 2D and I miss it, but invalidating the work put into 3D, that’s not the way to bring 2D back.

      • I imagine that most people are frustrated that the larger studios seem to have the opinion that 2d animation has no place in the market. There is in fact place for both, and they have their own unique elements that make them fantastic.

        • jmahon

          Well from the backlash I hear, the executive electing to pursue 3D animation and not 2D animation aren’t receiving the hate, I see most average folks blaming 3D animated movies today as being ugly and horrible and “I’m so tired of seeing stupid 3D movies, they’re all hideous” and whatnot. While I’d love to believe that isn’t the case, I see most of the public(those who aren’t involved in production) lay the blame on the films themselves, which hurts a little. “Rise of the Guardians was so ugly! Why didn’t they just do it in 2D!” seems like a misplaced attack, blaming the fact that it’s 3D, but I guess I can’t do much about that.

          • Ronnie

            Show me someone who said Rise of the Guardians was ugly and I will show you someone with no taste.

          • Animator606432

            Wouldn’t you be tired of seeing the same type of film over and over again, knowing that you and your friends have a bunch of creative talent that could be used in films? Also, those people who are calling the films “ugly” are obviously just bitter. But those are only the individuals you are talking to. Generally people just want to see a mixture of all different types of animation be it, CG, 2D, and Stopmotion. That’s the problem most people, including myself, have with the industry. There is no diversity in the art form which makes it very tiresome to watch.

  • If anyone’s going to save 2D animation, it’s Gobelins alumni.

    • jmahon

      I personally think that their approach to short film creation, with teams of people using their different talents together, is what makes their productions so good. Someone good at one thing won’t be shoehorned into doing another they aren’t as good at, or that they don’t like to do, and vice versa. It’s difficult to make something bad when everyone is doing what they love.

      I think 3D animation school Animation Mentor is beginning to do this, but I don’t know of this approach at any other school here in North America.

      • I went to a school that did just that–but the entire class (of 10-13 people) had to complete a 10 min. short in 3 semesters. But there’s a lot of problems with a larger group. It takes a very long time for schools to perfect a production-setting class. lots of trial and error.

  • Jamil Lahham

    such an adrenaline rush …good for them, cant wait to wee it done.

  • This flash-animated short makes my theory very clear: If you’re an amazing artist/ animator, the flash program will not change that. If you’re a mediocre, poor artist/animator, the flash program will not change that.

    • Wait, this was done in Flash? Neat!

    • mick

      True. A 25 quid pencil doesn’t draw better than a 50p one.

    • The ol’ “Does the tool make the artist or does the artist make the artist?” argument. I think both. I think during the time of cave painting, most creative people probably noticed a lack of paint brushes and canvases and didn’t become artists. A few brave souls decided to create art anyways. Perhaps, their wife wanted the cave spruced up, needed a bit of color, but it had to be hard to make those paintings. Poor tools, poor lighting, a lack of Renaissance based history to look back to, you name, they faced it. To even paint back then, they had to be inventers, artists and their own boss(or their wife was). It’s quite amazing what they did and I admire them. They should be proud of what they did as well as the obstacles they faced. Flash as an invention, is a different story. One shouldn’t be proud of the obstacles they face in Flash, only the final product. In this case, the inventers are Adobe, the bosses are the studios, and the artists are the animators. Adobe never claimed Flash was for animators, studios and animators did. They made it for the web design, and they have other programs for animators. Studios want something efficient to deliver shows on time and that most animators know how to use, and Flash delivers that. And many amazing animators, having jumped the hurdles to learn how to use Flash creatively, now see the program as second nature and don’t really want to jump extra hurdles to learn a new program. If one thinks there’s a better tool for the artist, then one has to respect all three groups need their needs met in some fashion or another to make them accept this “better” tool.

      • Luke

        Except that, we established further down that this was not made in Flash. This is TVPaint. You would be hard pressed to make strokes that organic in Flash. Not without some crazy plug-in at least…
        Toon Boom was supposed to bridge that gap between Flash and other animation software, but I found it awkward to use. TVPaint is still king for frame-by-frame digital.

        • mick

          I could get those lines using flash

          • Luke

            Yes, but while fighting the program the whole time. Smoothness set to 18, and using slower strokes multiple times in the same area, just to “emulate” what could be done in a single stroke effortlessly with TVPaint superior raster brush engine. And I still think I could tell the difference. I’ve seen artists use etch-a-sketches to make beautiful portraits, but it doesn’t mean they are as ideal as using a wacom tablet. I just think it is misleading to say “Look how good this Flash cartoon is!” when TVPaint was clearly used. I’ve yet to see Flash ever produce anything this naturally organic feeling. Even the experimental Flash cartoons are limited by vector brushes.

          • martin

            i thought they might’ve used flash mx for this. the brushes in flash mx are better for hand drawing than the more current versions of flash (dont know why). but i did freeze frame a bit through this trailer and some of the brush strokes have a bit of roughness to them that no version of flash can emulate. so yeah, must be tvpaint.

          • David Nethery

            Confirmed on Studio La Cachette’s Facebook page:

            “Yes, we actually used TVPaint for the entire film, and as you guess, a little bit of AfterEffects for the compositing.”

          • DeanDeaningtonIII

            Well to say it’s “clearly” TV Paint is a bit misleading. I don’t think we knew. I assume LeSean Thomas honestly thought it was Flash. Given his experience, he’s probably seen or done animation in Flash with similar results. My first thought was that it was Flash.. Usually in the United States, the topic is whether you can achieve as good results as paper animation and its effect on the animator. Flash is prevalent in the American animation industry and to a lesser extent Toonboom. I’ve heard of TV Paint and seen pretty good results but it seems more prevalent professionally in Europe than here. At least as far as I can tell, I could be wrong. Anyways, while I do think Flash is not necessarily the best tool for the animator, I don’t think it’s that major of a hurdle that people make it out to be to learn and master. If you want good results like this film, I think it’s entirely possible to do in Flash.

          • David Nethery

            — “I’ve heard of TV Paint and seen pretty good results but it seems more prevalent professionally in Europe than here.” —

            Yes, and since the film under discussion was made in Europe , by animators who attended the Gobelins School which uses TVPaint for many of their student films , and they made their graduation film “Le Royaume” using TVPaint , then it makes sense to speculate that they may have used TVPaint for “Kairos”. I would expect they also used AfterEffects for compositing and probably several other softwares . There is no single “magic bullet” software which does everything. This would be true even if they did use Flash for some of the animation. If they used Flash I’m sure that they also used After Effects and other softwares .

            Of course good results can be had using Flash. Ultimately it’s not about the software used , but the results on the screen. Flash can be “tricked” into getting a more organic looking line by using certain types of plug-ins . I believe that I read about the studio which made “Ernest & Celestine” using a proprietary software that was “based on Flash” to retain the sketchy ink line and watercolor wash look of the original book illustrations. But that is not off-the-shelf Flash.

          • Taranimator

            David I was astounded to read that Flash has plugins! I’m about to purchase TVPaint for a project in a similar style but I already own Flash – if there are plugins that would help me I would love to know more!

    • z-k

      And the executive or line producer utilizes Flash and pays any mind to questions of quality-over-quantity, because…

    • I am pretty sure that this is hand drawn but that’s something I’ve been trying to say for years… pen and pencils are not inherently good and computers aren’t inherently bad. good animation is good animation and bad animation is bad. its not what you use to draw its the effort you take to make a finished product yes that includes flash. living proof comes in the form in Friendship is Magic but an even better example is a little gem also made in France Wakfu… if they don’t make an English dub and show it in the states dear god I don’t know how I’ll survive :)

  • Yet we Americans cannot make 2D animation anymore because our skills have languished under the yoke of CG…

    • Matt Sullivan


  • daaaaaang! Japanese style animation is taking over the world 2d animation. Soo lovely!

  • Otaku-sempai

    I see some anime/manga influence, yet KAIROS has a fresh approach that is all its own. I hope that an american publisher is looking at this. The book also looks ripe for a flat-out adaptation into an animated feature (right after ELFQUEST and BONE get made).

  • MishMash

    This is what happens when you embrace and learn from Japanese animation instead of reject it as in the U.S. The french have picked up on it and flourished.

    • martin

      ha no kidding. i just watched ernest and celestine the other day and i can tell the animators really studied limited animation or japanese animation. movie was gorgeous.

      • Taranimator

        Ernest & Celestine uses standard classical animation techniques of Disney’s 9 old men, not limited animation. They seem to be working at a low frame rate like a lot of Ghibli films, but there’s a richness to the action that I find is missing from a lot of my favorite Japanese films. I love Miyazaki’s rich art style but I always lament that only the secondary action (hair, cloth) or BG elements are fluid. Ernest & Celestine keeps those details simple and concentrates the fluid hand-animated action on the characters, where I think it should be.

        • martin

          my bad, 9 old men indeed. maybe its a case of semantics of what limited animation is. i typically use that term for animation not on ones, but others would maybe narrow it down to classic hanna barbera cartoons or south park, etc. basically i view limited animation as animation on a low frame rate. and yeah ghibli’s animation is more stiff than disney, but i think they make up for it with nice little character animation details.

    • bobby saget

      You think it was like Japanese animation? It was hard for me to tell with all the mouth shapes, living holds and secondary animation that this had…. But maybe that’s just me ;)

      • martin

        a lot of anime is like what you described, a lack of principles. but if you dig a little deeper you’ll find some really good japanese animators that use the 12 principles of disney animation. although i do agree you wont find much of any moving holds.

      • hotdogface

        You need to watch better Japanese animation.

        • Anything by Studio 4°C for instance, Mind Game more specifically. FLCL from Gainax is also quite good.

      • Revy

        That’s the equivalent of saying American animation is strictly like the content found late night on Adult Swim. All flat graphics with flapping mouths making wise-cracking jokes over a 2D dimension-less background. One aspect of the art does to represent the whole.

      • ArtEff

        yea, you can totally see the Ghibli influence.

        • Bobby Sagget

          wow I didn’t know Ghilbli was the sole studio to do those principles nice catch!

    • Maya

      Yeah, it completely baffles me how some people completely dismiss Japanese animation. Sure, it’s often very limited, but there’s a lot of amazing stuff too. Great animation doesn’t have to be Disney-smooth.

      • martin

        i think its simply a case of xenophobia (as to why most of us north americans dismiss it).

      • It really comes down to characterization and writing. But it can vary depending on budget or intent.

      • For the most part Japanese animation is terrible, then again for the most part anything is terrible. They innovate a lot there and are willing to take chances, more so than organized American studios or channels. Also if memory serves me the studios take more of a lead on the production than the networks.

        • martin

          ha, i think its terrible too. well most mainstream anime doesn’t catch my interest, as they’re just there to cater to the common anime fan. but when its not so business oriented, i can find some interesting works.

    • Animator606432

      I think it’s really more of personal taste honestly. I’ve seen great animation done in from Japan but it still not a style I find appealing.

    • are you kidding… I find it harder to find people who reject Japanese animation than those who embrace it. I still find a naysayer every now and then and they usually are in the same camp of @$$hats who think that if it is not done with pen and paper than it is $*&!… the Pond Puppies movie was pen and paper and hold it up as some of the worst animation I’ve ever seen. anyway yea you are right there are still people who seem to see it and say NO for shallow reasons.

    • Johnny Appleseed Jr.

      Really Mishmash, really? Your going to try to make a convincing argument that anime is one of the most neglected and underestimated art-forms out today because evidence points to the contrary. After looking at student work, recent productions and films its becoming more and more evident that anime is one of the if not the most pervasive styles in the animated community. Heck there are other styles at this rate that are getting the cold shoulder much more and frankly I wish they received more acknowledgement. You could’ve made a very compelling argument twenty years ago about animators being intimidated and alienated by anime or having a reluctant attitude towards it, but it has since become one of the most ubiquitous styles in animation.

      I will admit that anime despite its prevalence still has
      occasional trouble with fickle critics who make unwarranted comparisons with Disney. Because the sad reality is that there are some critics that can’t judge work for its individual merits and will stack it up to how Walt might’ve produced it, and I’ve seen anime along with several non-Disney companies suffer from that occasionally. Also even after Animes triumphs there still some mainstream audiences that are reluctant to welcome it with open arms. Though neither the critics unnecessary comparisons or some audiences skepticism can control the undeniable impact that anime has and will become the face of animation a couple years down the road.

      I also agree with Revy, there are animators in both countries that try to lift stereotypes about their medium, not every American studies the fundamentals of Disney animation, while many
      Japanese cartoons don’t always have random mouth movements or low frame-rates. Also Mishmash I don’t see any younger animators or North Americans here rejecting the Japanese there’s a huge anime sensibility with the younger generation of animators and I’ve seen both good and bad has come from that. Also if someone chooses not to follow anime influence it’s not always
      xenophobia it’s many times an aesthetic choice on the artists part. Also I find it strange that people generalize that studying anime will automatically enhance the quality of a certain film, thats equivalent to saying that studying Illusion of Life and the Disney Fundamentals will put you above the rest. Its largely the artists responsibility to make a film good and studying a certain
      movie or style isn’t going to wave a magic wand and make your work look gorgeous.

      Like any style in existence anime has proven to be a great creative asset and influence, and sometimes backfire for others. Some animators utilize the Japanese influence very well as demonstrated by Kairos rich artistry, high production values, and smooth character animation. While others make second rate fandom work as exhibited on Deviant Art and sometimes this problem has even
      extended itself into some student work that could never be on par with Gobelins.

      Also whether or not this work is influenced by Japan is not relevant these films should be judged on other criteria and not their country of origin. The films that inspired the work is not the problem, the problem is how the artist goes about applying these influences to their work and sometimes it works more effectively than others. I will admit though that my one minor issue with this film is that they’re not very subtle about the fact that the film is an obvious
      homage to Ghilbi. This film while superbly and professionally made occasionally comes across as a fan tribute instead of being its own unique and separate piece of work. That doesn’t detract from the fact that its well crafted, proficiently animated, and there obviously setting a standard for other schools to follow so I hope that is not misinterpreted because these guys are obviously a sign of hope for the road ahead

      • martin

        well said man. yeah i should retract what i wrote (mistakenly made it too black and white). on the behalf of mishmash, maybe he was referring to american instructors/schools not embracing it like the schools in europe. although i do expect that to change at some point.

        gobelins is certainly leading an example. they embraced studying animation from all over the world.

        • Johnny Appleseed Jr.

          I have an tremendous amount of gratitude for Goeblins. Even though I haven’t agreed with every creative decision they’ve made and am not
          necessarily a diehard fan of everything they do, their level of determination, talent, and ingenuity is unparalleled. There arguably going to be the ones that catapult hand drawn animation back into the
          limelight. It’s irrelevant if I myself, certain teacher’s, or just average people disagree with their personal aesthetic, and creative choices. Because at the
          end of the day their role in the mediums history is getting companies to recognize the commercial viability of hand drawn art and motivate them to
          reopen their hand-drawn animated departments and put more artists back on the payroll. When you look at it from that angle than it really doesn’t matter
          which styles their pursuing or the content of their work, even though its obviously good. Although I do think the death of hand-drawn animation is
          hyperbolized, just because Disney is on an indefinite hiatus doesn’t signal the end of an entire medium, people have to stop looking at superficial tabloid junk and understand that the industries fate doesn’t revolve around a single companies
          creative endeavors.

          A lot of the instructors your referring to Martin come from an era in the mediums history where anime style wasn’t as prevalent, and we have to respect their experiences and personal creative preferences. Their a product of their time and were largely raised on Blair Studies and Disney Fundamentals. We need to at least understand their perspective, because anime didn’t exist in great abundance like it does now, it wasn’t a mainstay on cable
          networks the DVD and VHS market for animes wasn’t really booming yet. So maybe there just having trouble adjusting to the fact that the industry is reinventing itself and completely different from what they were used to growing up. I can understand their perspective and empathize with it because I’m more of a traditionalist guy myself, but I’m open minded enough to at least see animes
          merits and its inevitable impact that it will have.

          Also influence doesn’t really affect how talented an artist is, it’s largely their attitude, work ethic and how they apply themselves that shapes an animator. Influence can only do so much when its more based on the artists perception of those works, how it motivates them, and how they properly
          or improperly apply those influences. Two animators could have the same influence but varying results usually happen. One of the said animators knows how to capture the essence and charm of the artist he or she was inspired by and create a superb piece of work out of it like the students at Gobelins did. Then there could second said artist who follow the same style but internal politics, conflict, and the inability to apply themselves gets in the way and it leads to disastrous results.

          Anyway, thank God for Gobelins, for not compromising and injecting life back into the medium.

  • MishMash

    Also the influence of Norio Matsumoto is in this trailer, looks like they lifted exact animation from one of the battles in Noein.

  • Both the trailer and comic book looks amazing. Is there any chance that this comic will be translated to English?

  • Natalie Belton

    Seems like some of the most innovative animation is coming from France and other European countries these days.

  • Tori

    Wow! So impressive!

  • This is a so much better way to utilize animation to promote a comic then those “motion” comics the big companies over here are doing.

  • Why is that in France they’re still making some very good hand drawn animation stuff? I just love it so much!

  • The designs looked a bit similar to Ghibli-esque art. This is something that America could tackle independently either flash or Fully hand-drawn. With Richard Williams’ iPad app now available along with his Circus Drawing short, and potential in 2D/CGI hybrid from Paperman, Hand drawn animation for the mainstream may come back slowly. Who knows?

  • DD

    Fun little trailer. It looks like the main character is turning into some sort of creature. Some pf the characters remind me of something I’ve watched before. I can’t put my finger on it though.

  • DB

    I wish I could be excited, but much of this looks like cheap limited TV animation – though there are really nice moments here and there.

    An I the only animation fan who thinks the character animation in even high-end Japanese animation is shoddy? From what I can see 75% of the effort in those films goes into the backgrounds and the characters are like an afterthought.

    This film looks like it is following that template down to the anime-looking characters.

    • Its probably a preference thing. I think shoddy is a pretty strong word. The style of animation for sure is different in the lack of Disneyesq animation principles but I’m not sure what Japanese animation you’ve been watching, but saying the characters are like an afterthought is laughable.

  • Luke

    How do we know it was done in Flash? I am having a hard time finding any info on how it was done. If it was done classically in Flash, they must have done some compositing and fx in After Effects or something similar to get the ink look on the brush strokes. Nothing about it looks like vector to me…

    best 2D animation I’ve seen in some time. Totally got me right stoked on animation again.

    • Tofu

      Agreed, I don’t see the Flash influence… I was thinking perhaps TV Paint? I hope someone does find out, because I’m curious!

      • AliceB

        I confirm, it has been done on TVPaint

      • Dave

        I agree this looks more like TVPaint than Flash . Gobelins tends to use TVPaint and the film makers are Gobelins grads. (Not that it ultimately matters what software is used ; the results on screen are all that matters , BUT people like me , and presumably a large portion of the readers of this website , who are interested in the animation process , would find it of interest)

  • Aw man, it’s only a trailer for a comic? Granted, I want to read it now, but I’d love a movie or a short. Also, they should make a Bone movie.

  • James Madison

    Amazing! I too wish it was for an animated feature. The comic book looks great too!

  • jmahon

    independent comic books are way, way bigger in Europe than they are here in North America.

    • Its published by Ankama (te ones with the Wakfu series and games). I’m not sure if it falls in the independent category. The trailer does seem to be done by the author’s studio.

  • Jab

    Expertly and exquisitely done – but to me it appears to be a pastiche of every anime action scene ever done more than anything else. Blade palm catch, face stomp, energy balls galore, frantic running between ‘splosions, it’s all there. To reject the Disney clichés is one thing, and a good thing. To just replace them with clichés that seem fresher because they’re not as widely known yet doesn’t seem like the ideal alternative to me, though.

    Don’t get me wrong, I like the graphic looseness and the timing, cutting and energy are remarkable, but a lot of Gobelins showcase animation seems to be embodied in this. It doesn’t speak to me deeply emotional, it caters to a need for speed and the release of pent-up power. What this says to me is, ‘Well, here are some crazy talented kids fresh out of one of the hottest animation schools of the world, chomping at the bit, bursting at the seam and high on Miyazaki, Cowboy Bebop and every decadently drawn anime appealing to the more visually sophisticated action tastes of artsy twenty-somethings.’ That’s not a ‘bad’ thing just like the Disney style of design and animation isn’t inherently ‘bad’. However, animation can still be much more.

    • Does all animation have to speak deeply and emotional? Citizen Kane is great, but every once in a while I like to watch an Expendibles too.

    • Greg

      It’s a trailer, not a film

  • What did I just watch and can I watch it forever.

  • ToonWatcher

    Oh my god…. this is absolutely beautiful.

  • z-k

    If a tree falls in a forest… etc.

    Obviously any change takes time. The world’s leading producer of boxes isn’t going to heed whatever’s coming out of France or the EU anytime soon, no matter how creative or beautiful. Why should they – how many European supervising directors or CEOs in film laid off multiple employees while giving themselves a million-plus pay raise? Hence the superiority in producing boxes.

    The American Animation motto should read: If a match falls in the forest, and creative execs are near – do they still use their golden parachutes.

    Perhaps if the fires were a bit more numerous, and closer to home.

    Play with matches, kids.

  • martin

    that would be nice if they did that here, but i think its a bit unlikely. japan kinda had to do the “young animator training project”. it was a response to all the recent outsourcing they do and there seemed to be less and less talented young native animators (the videogame industry is a factor for siphoning the talent). anyways they got a lot of pride in their animation industry and its pretty much a pillar of their economy. not to mention, as an art they want to cultivate fresh talent.

    i did enjoy “little witch academia”. actually i’ve been closely following the young animator training project for a long time now; saw all the shorts, great stuff. yoshinari is an excellent animator and he did an excellent job directing that short. as much as i like him i’m a much bigger fan of the founder of studio trigger, hiroyuki imaishi.

  • Spirate

    Looked at the preview of the book and the first thing I noticed was the Ankama logo. Even though the studio didn’t do the animation for this trailer, I was already hyped.

  • Ian Cook

    Wait, that was a trailer for a comic? With animation that awesome, they should consider making a movie in the future. I’ve seen the hand-drawn shorts made by Gobelin students and they are fascinating. I hope the comic gets translated into English someday.

  • They did the Wakfu (I think its written) series.

  • Thanks for the clarification, guys. I was told that this was flash (of course with the help of prompt compositing). I’m familiar with TVPaint in france, but not well-versed on the program. That being said, it’s not entirely out of the question for this to be done in Flash however, seeing as “Kung Fu Cooking Girls” short produced by China-based crew Studio WolfSmoke was animated in Flash and Retas Pro. Good discussion! :-)

  • Roberto Severino

    Holy mackarel! The backgrounds and animation are absolutely perfect and original. I didn’t get to see this until Bob Camp posted this on his Facebook and I was blown away! Good hand drawn animation lives!

  • Marduk

    This is freaking amazing

  • Afrolion777

    One of my favorite animation studios.