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hyzenthlayroseart · 10 days ago

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I wanted to save these for when I was done with the whole project but I have a feeling the next few entries will take a long time to make since each era has so many movies (Renaissance Era, Experimental Era and the Modern Era) and I got impatient with myself so I'm posting what's done so far.

So I decided to do a project where I draw films from each Disney era together. For those who don't know about Disney's animation eras, here's a good guide: https://www.bfi.org.uk/features/many-merry-eras-disney

So after the ups and downs of the experimental era, the studio is now back on top with the revival era, starting with their return to 2D animation, The Princess and the Frog.

Back when Home on the Range flopped, it was decided that film would be their last one to be traditionally animated. However, in 2006, Ed Catmull and John Lasseter reversed the decision and reinstated 2D animation at the studio, even locating and re-hiring many animators who had been previously laid off when the traditional animation units were dissolved in 2003. Lasseter also brought back directors Ron Clements and John Musker, whose previous works included The Great Mouse Detective, The Little Mermaid, Aladdin, Hercules and Treasure Planet, to make the film. The film was a musical retelling of The Frog Prince set in 1920s New Orleans, and wasn't just a return to 2D animation but a return to the classic musical format from the Renaissance era. When the film premiered in 2009, it was a major critical and financial success, and even went on to get an Oscar nomination for Best Animated Film.

The next film was Tangled, based on the Rapunzel fairy tale, and was once again a computer animated film, albeit one modeled after the look of Rococo oil paintings. A Disney film based on Rapunzel had actually been attempted by Walt back in the 30s and 40s, but never filly materialized as the story was considered "too small". The next attempt was Rapunzel Unbraided, a story pitched by animator Glen Keane as a "Shrek-like" version of the story, where two present-day teens in San Francisco were transported to a fairy tale world and inhabited the bodies of Rapunzel and her love interest. Glen Keane later reflected that while that version of the story was a wonderfully fun and witty story, he believed there was something more sincere and genuine to get out of the story, so it was set aside and they instead went back to the roots of the original story. In 2008, Glen Keane had to step down from directing the film due to a heart attack and was replaced by Byron Howard and Nathan Greno, although Glen Keane stayed on as an executive producer and animation supervisor. When the film premiered in 2010, it was another critical and financial success.

The next film was both another return to 2D animation as well a return to Winnie the Pooh films. While the film went on to get positive reviews, it was a box office disappointment due to opening on the same day as the final Harry Potter film. Some Disney animation fans (including myself), theorize that this was done intentionally to "prove" that nobody wants 2D animation anymore so that they could justify no longer making them. Sadly this film seems to be mostly forgotten nowadays (even on the Wikipedia and Disney Wiki pages for this film, the sections about production history were "meh", hence why this part is so small).

The next film was Wreck-it Ralph, an original story about a video game villain trying to prove that he's a good guy, even featuring cameos from real licensed video game characters. The concept for the film was first developed at Disney in the late 80s under the title High Score, and through the years has been redeveloped and reconsidered multiple times, going through name changes such as Joe Jump and Reboot Ralph before finally settling on the name we all know. When the film premiered, it was another critical and financial success, an even got a sequel in 2018 (but that's for the next upload).

The next film is without a doubt the biggest success of this era, I'm of course talking about Frozen. The origins of this film go all the way back to 1941 when Walt considered a co-production with Samuel Goldwyn Productions to make a live-action/animation hybrid biopic of Hans Christian Anderson's life, where the live-action scenes of Anderson's life would be shot at Samuel Goldwyn Productions and Disney's studio would animate the fairy tales, however the studio encountered difficulty with his story The Snow Queen, as they could not find a way to adapt and relate the character to audiences, despite knowing the story had great cinematic possibilities. When the wartime era started, the project was shelved so Walt could focus on wartime propaganda. Attempts were made throughout the studio's history to adapt the film, a new film adaptation was even being developed in the late 90s but was scrapped in 2002, but all attempts failed. Another attempt that would eventually evolve into Frozen was made in 2008, but went through development hell in 2010, before being revitalized as "Frozen" in 2011. The more the project developed, the more loosely based on the original story it became, until it became basically an original story very, very loosely based on the Hans Christian Anderson story. Like The Princess and the Frog and Tangled, the film was a return to to the musical format. When the film premiered in 2013, it wasn't only a critical and financial success but became a phenomenon, earning a Broadway adaptation and eventually a sequel (again, that's for the next upload).

The next film was a result of Disney's acquisition of Marvel in 2009, a loose adaptation of the Marvel superhero team Big Hero 6, a Marvel product chosen specifically due to its obscurity which would give them the freedom to come up with their own version, a decision that Marvel approved. As research for the robot character Baymax, the Disney team took a trip to the Carnegie Mellon University's Robotic Institute, where they discovered "soft robotics" made using inflatable vinyl which would be used as inspiration for designing Baymax. Other sources of inspiration for the film came from Japanese anime such as Hayao Miyazaki's work, as well as Pokemon and Shogun Warrior toys. When the film premiered in 2014, it was another critical and financial success.

The next film was Zootopia, and like Wreck-it Ralph was an original film. The film was directed by Byron Howard, who wanted to do a film similar to Disney's film Robin Hood, in which the characters of the film were anthropomorphic animals. Early pitches he made for anthropomorphic animal stories were an animal adaptation of The Three Musketeers, a 1960s-themed story about a mad scientist cat who turns children into animals, and a story about a bounty hunter pug in space. When Byron Howard expressed his idea of making a film that's different from other anthropomorphic animal films by setting it in a modern world designed by animals for animals, John Lasseter loved the idea and suggested to Howard that he should combine the 1960s theme with the animal characters, which resulted in Howard to develop and pitch a spy story called Seven Seas about an arctic hare spy named Jack Savage. Screenwriter Jared Bush was hired to work on the film, something that excited him as his own father and grandfather had worked for the CIA. As the two developed the film, it was discovered that the most delightful part of the story was in the first act, which was set in an all-animal city created by and for animals. Eventually the 1960s and spy themes were dropped and the story was instead changed into a contemporary police procedural, and the character Jack Savage was dropped and the characters Nick Wilde and Judy Hopps became the leads. Research for the film took place in Disney's Animal Kingdom, as well as Kenya and the San Diego Zoo Safari Park to research animals. Other research for the film included visiting the Natural History Museum of Los Angeles County to study animal fur under the microscope, consulting Americans With Disabilities Act specialists to help learn about developing a city that would be inhabited by animals of different sizes and from different climates, and consulting with the former chief creative officer of the Ford Motor Company to create vehicles for the variety of animal characters. When the film premiered in 2016, it was another critical and financial success, and even has an upcoming sequel.

Finally, we have Moana, another original story and another return to musicals. The idea for the film was born in 2011 when John Musker read about the mythology of the Polynesian demigod Maui and thought it would be a great subject for an animated film. After he and Ron Clements pitched this to Lasseter, the two went on research trips to Fiji, Samoa and Tahiti. While they originally planned to make the film entirely about Maui, their trip gave them the idea to pitch a new story about the daughter of a chief, with Maui still an important character in the story. Clements and Musker were fascinated to learn about the history of voyaging that the people of Polynesia did which began around 300 CE, long predating European explorers, and that the Polynesian people abruptly stopped making long-distance voyaging about three thousand years ago, before resuming voyaging a thousand years later. This lead the pair to set the story at that point in time about two thousand years ago on a fictional island based off of the real-life island nations of Fiji, Samoa and Tonga. When the film premiered in 2016, it was another critical and financial success, and even got a sequel (again, that's for the next upload).

#fan art #disney #disney revival #the princess and the frog #tangled #winnie the pooh #wreck-it ralph #frozen #big hero 6 #zootopia #moana #disney animation eras project

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imagitory · 2 years ago

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Review: Wish (2023) [SPOILERS]

Evening, everyone! Tonight my mother and I went to go see Disney's most recent film, Wish, which fortunately came to theaters in my area right before its formal American release date. I'd been very curious to see how this tribute to Disney's last 100 years of filmmaking would turn out, and now that I've seen it...well, I have to be honest, I was a little disappointed. I want to be very clear both that I was going into this with a rather sunny outlook and that there are things I really liked in this film...but overall, it felt like a lot of the good ideas it had were only half-baked, and I found myself -- forgive me -- "wishing for something more" than what we got.

For a more comprehensive deep-dive...a cut!

The Good!

+The single best element in this film for me was Chris Pine's performance as our villain, Magnifico. There are definitely some things I can critique about Magnifico's overall storyline and "character arc" further down, but Chris was clearly having a grand old time being an egotistical, sassy jerkwad, and it totally showed. Even in his villain song This is The Thanks I Get?, which just screamed "passive-aggressive abusive parent," you can hear how much fun Chris was having in the studio, recording it. I just about always enjoyed when Magnifico was on screen, and I actually did really like the idea that a lot of his villainy is rooted in him being obsessed with control over everyone and everything. In a weird way, Magnifico's turn to the Dark Side parallels Anakin Skywalker's in the sense that he lost so much in the past that he's determined to never lose anything important to him again -- especially the power he's accrued to make himself feel strong, after having felt so powerless. I find that very interesting, and I kind of wish that aspect was really highlighted more in the story, but we'll talk about that later.

+Asha was a likable enough heroine, even if I found her to be a lot like a two-way fusion of Mulan and Anna placed in a vaguely Snow-White-ish role in her clearly Seven-Dwarf-inspired friend group. Ariana DeBose portrayed her rather well, both acting and singing-wise. I also liked the "social justice" bent to Asha's character where she wants better things not just for herself and her family, but also Rosas overall -- in the French translation of her main song "This Wish," they even push this further by having Asha wish "to see the world happy again someday." We haven't seen a heroine really express this kind of desire for a positive change in the world since Esmeralda in The Hunchback of Notre Dame, and that's cool! Plus representation in mainstream media for previously underrepresented groups is always nice. ^.^

+As much as I don't think they all got enough focus as individuals, I liked Asha's friend group! Especially the fact that it is a friend group made up of people that are around the same age as our protagonist, which -- let's be honest -- isn't that common for Disney heroines. Often with "sidekick groups," you're more likely to have situations like Cinderella with the mice (who are more like cutesy sidekicks than equals) or Snow White with the Dwarfs (who are all quite a bit older than our heroine)...so a friend group made up of peers with their own personalities and motivations was kind of fun.

+The setting of Rosas itself could be pretty. I liked a lot of the Mediterranean-inspired architecture, especially inside Magnifico's tower.

+The combination of 3D and 2D-esque animation was also interesting! It really served to give the film its own distinctive visual style that sets it apart from other Disney projects, which I always appreciate.

+Star was...cute. Obviously just designed to sell plushies and definitely reminded me way too much of Kirby, but cute enough. I do think it's kind of cool that they're never gendered at all in the entire movie, because it'd be silly to think of a sweet little androgynous ball of stardust as being specifically male or female.

+I liked the idea of Simon "betraying" Asha, only to be turned into a pawn by Magnifico in the process, but not being treated unsympathetically by the story for it. Didn't love the full execution of the idea, but hey, that's what the negative section is for.

+The idea of everyone finding the power inside of themselves to stand up against Magnifico (because they're "all stars," and presumably all have the magic needed to make their wishes come true) was a little predictable, but still sweet. I have problems with how the film wrote it (which we'll get to), but the idea itself was wholesome and fitting.

+I like several of the songs, just on their own -- I added This Wish and Knowing What I Know Now on my ITunes as soon as I first heard them prior to the film's release, and now I've added At All Costs too: it's a really pretty duet! (Gorgeous work, Chris and Ariana!) I'll leave my praise here, though, because sadly the soundtrack is going to get a lot of discussion in the less positive section.

The Not-So-Good...

+This film being "Disney's 100th anniversary film" really got in the way of this movie telling a compelling and unique story sometimes. The whole movie really twisted itself into a pretzel trying to check off all the usual Disney tropes, and there were points that certain choices made the story seem incredibly stilted. For instance, one common Disney trope is a dead parent, so of course Asha has lost her father -- but we learn so little about him and he ends up playing such a small role in Asha's arc and story that it seems like an unnecessary detail. Asha's grandfather honestly plays more of a role in Asha's motivation throughout most of the film, so it would've made just as much sense to have Asha's grandfather be the one who believed in stars having power, rather than her father. Another example is the concept of the cute animal sidekick who's just there to make jokes -- as much as Valentino the goat didn't annoy me personally, he added just about nothing of value to the story whatsoever aside from comic relief, in contrast to other funny sidekicks like Sebastian from The Little Mermaid or Olaf from Frozen, who also serve a plot purpose and have a developed relationship with the protagonists. Then there's Asha being cut from the same "naive, awkward, wide-eyed idealist" cloth as many of our Disney Revival heroines like Anna, Rapunzel, and up to a certain point even Mirabel are; Star being in a similar vein to cutesy, innocent sidekicks like Pua, Crikee, and Baymax while Valentino is more akin to sassier, comic ones like Mushu and Sisu; her friends literally being based on the Seven Dwarfs from Snow White; our heroine getting a pretty standard "I Want" song and the villain getting his own solo number that doesn't really take any risks...oh yes, and we mustn't forget the trope of the Storybook opening, which (I'm sorry) I know was supposed to be a reference to Snow White, Cinderella, and Enchanted, but just gave me Shrek vibes the entire time. I was waiting for Shrek to rip out the page and use it for toilet paper any minute. It just felt a lot of the time like the movie was very paint-by-numbers, rather than throwing in much that was surprising or different.

+This isn't even touching all of the pointless meta references to other Disney movies. Asha wearing the Fairy Godmother's cloak and getting a wand like hers at the end -- the mushrooms crowing "we love crazy!" the way Hans did in Love is an Open Door -- Asha riding the reindeer the way Kristoff did in Frozen 2 -- Magnifico using green smoke hands a la Ursula -- the ending with those obvious Wendy and Peter Pan look-alikes, come on, really??? That was just painful.

+As much as Magnifico was an awesome idea for a character and Chris Pine's performance was beyond entertaining, the movie did not always write him as well as they could've. From the very start, we see this guy is an egotistical control freak -- obsessed with his own image, incredibly hard-to-please, arrogant, vain, desperate for attention and unwavering praise and adoration from all of his subjects, and determined to keep an iron grip on everyone else's wishes because of the power it gives him. He's ALREADY a terrible person, from the start -- and yet the film tries to introduce this dark magic book that gets no explanation or backstory whatsoever and has no real characterization or presence, so it leaves no real impact on the audience corrupting him and making him a bad person, when it didn't need to! Magnifico was already the villain this film needed! Just let him fall head-first into madness without the book prompting anything! Even if Magnifico "lost everything" in the past, that doesn't make him a good person, if he takes everyone's wishes away from them and hoards them all to himself, only to grant a few now and again when it would make him look good.

+This above point actually leads nicely into one change I really, really wish the film had been ballsy enough to make -- have Asha already be Magnifico's apprentice, not trying to become it at the start of the story. Give our villain and hero a real relationship, with history that started before the events of this film! Asha lost her father at the age of 12...how interesting would it have been -- whether to make Magnifico more of an anti-villain or show how manipulative he really is -- if he'd tried to fill that fatherly role for our main character and twist her to serve his ends? What if At All Costs was rewritten to be about Magnifico not just being determined to hold onto all of the kingdom's wishes, but also this apprentice he sees as an extension of him and his legacy, while Asha is determined to protect this Star she's accidentally summoned and the suppressed wish of hers it represents? This change would've made Asha's break with Magnifico so much more powerful for both of them -- it would've both justified Magnifico's descent into madness and given Asha more reason to feel like it was her responsibility to stop Magnifico. You even could've then played more with Asha's relationship with Queen Amaya too, in this kind of a scenario.

+Oh yeah, and on that note, Queen Amaya. OOH, this really annoyed me -- okay. So this woman is supposed to be a good guy, in this story. But as I touched on earlier, Magnifico was already a pretty awful person, hoarding people's wishes away in order to make himself powerful. Was Amaya truly so blind to that? Did she truly never question anything, ever? But no, really, she only turns on Magnifico after he starts using the dark magic book and actively threatens her. Only that makes her turn from him, and it's pretty damn immediate. Now okay, I hear you saying, it's like Amaya sings in Knowing What I Know Now, right? "The good in him, I've watched it melt // I was blinded by the love I felt"? Excuse me, lady -- but Magnifico wasn't a good person, before. He was just playing a part so as to stay powerful and adored by the masses. And if the story wants to claim otherwise, and act like that dark magic book was responsible for Magnifico going bad, then why would our Queen decide to keep him locked up in his staff's crystal forever? If the book was responsible, then Magnifico would be the Frodo or Golum to the book's One Ring -- he'd be a victim, in such a scenario: one in need of help and pity, not punishment. So either Amaya is a selfish person who only cared about her husband's mistreatment of others when it affected her, or she's a needlessly cruel person who decides to punish her husband for a vice that anyone could fall prey to. Either way, I don't want this woman ruling anyone! Make this woman a straight-up villain, same as her husband, and have the whole monarchy come crashing down after she and Magnifico both go down in flames! VIVE LA RESISTANCE! (Playing into my idea with Asha being Magnifico's apprentice all along, maybe there could even be a twist on the Evil Stepmother trope with Amaya, where she's jealous of how much Magnifico has tried to groom Asha as his apprentice, rather than spending time and/or starting a family with her or something.)

+As I touched on earlier, there wasn't even close to enough time to develop all of these characters properly. Since our heroine and friends are most similar to Snow White and her friends the Seven Dwarfs, let's compare cast size. Snow White is 83 minutes long and has a cast of ten (Snow, the Prince, the Queen, and the Dwarfs) -- Wish is 95 minutes long and has a cast of fourteen (Asha, Magnifico, Star, Valentino, Amaya, Asha's mum and grandpa, and our seven Friends). This results in us getting the vague idea that "Grumpy" role Gabo is sweet on our "Bashful" role Bazeema, but no time to develop their relationship or give it any kind of conclusion; the others saying "Sneezy" role Safi apparently loves the castle chickens with no sympathetic explanation why, to the point that he gets super excited about a chicken growing to a giant size for no real reason; "Doc" role Dahlia having a crush on Magnifico that is then dropped immediately after Asha turns against him; oldest kid and "Sleepy" role Simon feeling incomplete without the dream he gave Magnifico and "betraying" Asha as a result in an attempt to get it back, only to get stabbed in the back by Magnifico, and then have no time for a proper redemption after he's unhypnotized; Asha's grandfather turning on a dime about whether or not he wants to know what his wish was if Magnifico thought it was dangerous; Magnifico getting some justification in his backstory for his bad behavior, but Amaya's backstory being a complete black hole before she married Magnifico when you'd think it'd explain all the more why she stuck with him so long; and Asha's mum having her wish crushed to dust by Magnifico and then given back without us EVER LEARNING WHAT IT EVEN WAS IN THE FIRST PLACE, even after we see just about everyone else's wishes as soon as somebody picks it up and Asha's mum's wish gets picked up multiple times!! Come on, if you're going to set up NOT showing it, you may as well have a pay-off for it!! At least give us some moment where Asha's mum hugs her in relief and acknowledges that her daughter was her wish! That would've been a nice "aww" moment for everyone!

+Okay, I said I was going to talk about my problem with the songs, so here goes. As I said before, I listened to the soundtrack before watching the movie, and even when I did, I could immediately sense a problem: these songs did not tell me much of anything about the movie, just on their own. Welcome to Rosas, which is pretty much just an exposition dump about the kingdom and how Magnifico founded it, didn't really paint a picture of our setting or characters much at all, the way opening songs like Belle or The Family Madrigal do. This Wish, although pretty, was something I could hear just as easily on the radio -- it didn't feel as tied or necessary to understanding our heroine the way something like Part of That World does. I'm a Star, quite frankly, felt like a lot of inspirational word salad, rather than anything particularly memorable or revelatory -- why else wouldn't it even be worthy of a musical salute in the reprise, where Asha remembers that she and everyone else are stars during the climax? Even after reading summaries of the plot and spoilers from the storybook for this film, I could not figure out for the life of me how At All Costs would fit organically into such a story, being sung by our villain and hero. It wasn't until I saw the film that I saw how the filmmakers decided to fit it in and honestly...the song didn't help tell that particular scene at all. It's a really pretty song and I like it a lot -- but it lacked any of the irony or contrast that kind of a scene that introduces the difference in focus between our hero and villain required. If the scene itself is needed to understand what's supposed to be going on while the song is playing, then the song is not effectively telling the story and is therefore unnecessary. There wasn't even a particularly Spanish or Mediterranean flair to the soundtrack to help set the stage, aside from the occasional flourish of castanets -- instead it sounded very contemporary, which I guess is appropriate, since it was largely written by pop composers rather than any musical theater talent.

+There were also points where the songs felt the urge to shove in a bunch of extra words just because, rather than have the words flow well and really mean something. I'm a Star is most guilty of this, of course, but even in This is the Thanks I Get?, we hear Magnifico gripe that "I let you live here for free and I don't even charge you rent" -- mate, THAT MEANS THE SAME THING! If you live somewhere for free, then you are NOT paying rent!

+Knowing What I Know Now is a bop and I like it (aside from Amaya's stupidity), but I'm sorry, all I can think when I hear it is "This is clearly trying to be Ready as I'll Ever Be from Tangled the Animated Series, but that song blows this out of the water." However fun the song can be, it would've been so much stronger if it actually addressed the contrast between the characters and revved us up for a big final battle, instead of it just being our eight underdeveloped characters psyching each other up.

+The idea of everyone being stars was a lovely idea, but the execution of Asha remembering this fact and using it to defeat Magnifico was terribly handled. First off, there was no revelatory phrase or action that prompted Asha to remember this fact, so her suddenly saying that "they're all stars" came out of nowhere. Second, even putting aside that there'd be no way any of her friends could hear Asha from all the way up on the tower if they're stuck in the courtyard below, there's no reason I can see for Asha's friends or family to know what the hell she was even TALKING about. They weren't there when the I'm a Star number happened! And the way that number made it seem, just based on the visuals, it looked like the "star" power came from a person's dream, since it's the same glow that returns to Asha's grandfather when he gets his dream back, but most of the town's dreams have been already yanked out by Magnifico at this point! I think the idea is that since everyone is a star, even with that big piece of them and the power accompanying it taken out, they still have enough stardust inside of them to be powerful enough to chase their heart's desires...but yeah, I'm sorry, for all the word salad I'm a Star threw around, this world-building aspect was really not made clear, and because of that and the lack of a proper callback to this plot turn, the climax didn't hit as strong as it should've.

Overall, this film felt a lot like a batch of unbaked chocolate chip cookies that someone decided to throw a bunch of brightly colored sprinkles on top of, just because they could. A lot of ideas just don't feel like they were fully developed, and there was a lot tossed in that didn't contribute to the overall taste or bring the disparate elements together in a cohesive whole, instead feeling more like a distraction than anything of actual substance. That doesn't mean I couldn't eat it -- I like eating cookie dough as much as the next person -- but that doesn't mean it felt like a complete, finished product worthy of great praise. Instead I'm left looking at the wasted potential and wishing the movie had carved out its own path more, one distinctive to itself, rather than just be a mashup of previous Disney concepts and tropes. I won't act like there's nothing to like here, nor that it's completely lacking in heart: I actually would love to see fandom for this movie re-imagine it in ways that could've improved the story and characters, because there were SO many good ideas here...but for me personally, this movie left me colder than it should've and -- like Asha after meeting Magnifico -- a bit disappointed.

So I make this wish...to have Disney make a film better than this.

Overall Grade: C-

#disney #disney wish #wish (2023)#wish #wish spoilers #spoilers #review #analysis #oh boy here i go

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heymusings · 1 year ago

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Wish was fine, but overall disappointing for a film that is supposed to mark the celebration of 100 years of Disney animation. As much as I love Disney, I can't deny that it did not live up to what it was intended to be. 1) Originally it was to be hand drawn animation & go back to the roots, only to backtrack & do computer animation instead with the argument that they used 2d backdrops so it's the same thing. It’s not. It’s really disappointing to me because Disney has gotten stuck on the animation front. They now seem to look down on hand drawn animation which is ridiculous because people are screaming for a return to that style. I feel like they use their last hand drawn film as an excuse to not create such films anymore because they aren't successful. In reality, they didn't promote those films so people just weren't that aware of them when they were in theaters. This has become a bad habit of Disney. The mixing of animation styles at several points seemed disjointed. Plus, there is the fact that so many other animation studios have been doing mixed animation better & are outpacing Disney in animation development because Disney isn’t really doing anything as new or daring as other studios. I am not saying the animation of the film is bad, in fact, it is still pretty, but Disney/Pixar’s style has remained pretty much the same since the early 2000s. 2nd, Others have discussed this issue & I agree. There was nothing all that interesting about Asha & she certainly isn’t unique because it's pretty much the same personality we’ve seen in the last several years of Disney films. 3rd, Why the hell is the King’s wife even in this movie?! If they weren’t going to go with the original intent of them being almost a crime family duo (which, by the way, it is a travesty they didn't do this idea), just cut her character because she really hindered my seeing Magnifico as an interesting villain. In fact, cut the semi sympathetic backstory. He should’ve been more evil and honestly until Asha’s interference he wasn’t that bad. I would just like a fully evil Disney villain who is a full villain from the get go. He has a Dr. Facilier vibe, which is great, but Disney has & could’ve dug deeper & committed. There was so much potential here. 4th, The songs were mediocre at best and it’s exceedingly obvious that the writers aren’t musical writers. The songs don’t tell a cohesive story or develop character much, and they certainly don’t have much depth, they’re just there. They’re not songs that people are going to be singing. I honestly think that Howard Ashman is rolling over in his grave due to the soundtrack of this movie. 5th,There are way too many characters. Asha’s friends are the most forgettable wastes of time. I get the want to reference Seven Dwarfs but them, plus valentino, plus the star…too many to care. I think it was one reference that could’ve been left behind (it’s not like there weren’t many references to Disney animation throughout to make up for it– because there were TONS). 6th, that is the lamest dress change that Disney has ever done. With so many epic and magical dress changes how is this what they come up with? They literally went, just make what she’s already wearing sparkle and call it a day. Everything being said, I do like the idea of this being the starting point for Disney stories and Asha being the first fairy godmother. That is a great idea and is perfect for this 100 years of Disney animation. It’s just that there were so many things that just did not live up to or respect the history of Disney animation as this film was supposed to do.

#disney #analysis #film #wish

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finefander · 4 months ago

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How are you fanfic writers able to just... post their stuff?? Online?? With no worries about any thing?? I swear, every time I try to write a story, it feels like my self-insert/reader character needs SO MUCH BACKSTORY, which, as the person who made my OCs, I can see why. Alex/Whitestar, my first self-insert/OC comes from Yo-Kai Watch but has abilities like eye colors based on emotions (taken from the RainWings from Wings of Fire by Tui. T Sutherland), telepathy abilities taken from Eragon by Christopher Paolini, had lives and memories based off of the Pokemon series, heck, her other name comes from Warriors by Erin Hunter. AND THERE"S MORE LORE BEHIND HER!! Like... where can I even start from there?!

Or, if you were bothered by some of these books from my childhood, how about my most recent self-insert/OC? Toony (or Toonie; both are correct spellings) is heavily based on various Bendy and the Ink Machine AUs from when it was very popular. 2D Bendy AU and its... unofficail sequal I think is what it is(?) is the biggest one with that being the reason why and how Toony met her little brother Bendy. Weird things happen and Toony and Bendy meet the toons from the Toon Henry AU who know her, but also don't. Then she meets the guys from the Hell's Studio AU where Toony learns how to do dark magic from Joey Drew and uses the terms "_____ like a Joey" and "_____Like a Drew" as a way to subtly tell Bendy that she likes or dislikes them, respectively. She acquired "poisonous blood" by me reading Back To Your Roots by Ireallylovepuppies101 on AO3. Going away from Bendy AUs, she has also been put in "Animaniacs" to learn how to act like a toon, he's been forced to be a leader of a cult in the indie game "Cult of the Lamb", she was, or maybe is going to bein technically, Crystal Scherer's The Virus Within series on Wattpad as a sort of... after her main adventure is over, and, most recently, Poppy Playtime as of my newest fixation right now! Like... where to even start with her... and all of the AUs she's in...

So like, seriously, y'all, how do you do it? More specifically, how do the self-inserters do this? It all makes sense to me in my head, but the second I try putting them down on paper in the middle of their story to attempt to be mysterious about where they come come from and whatnot always fall flat, like no one would know, or care to know, what they're like simply because they're shoved to the middle of the story..

#okay #I don't know how to tag this #writing #?#writing help #????#writers on tumblr #writeblr #fanfic #ao3 writer #fanfiction #I hope this is enough...#And I didn't add in one of my other OCS either..#Maybe they can pop up some day?#If I can get over the fear of them technically not having DID/OSDD despite them being made while I was very interested in that disorder #In a “Oh that's cool!” way #btw

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kpdigitalworld · 28 days ago

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Fashion Designing Institutes in Hyderabad: Blending Heritage with Modern Creativity

Hyderabad is more than just a city of IT parks and ancient monuments — it's a growing fashion destination blending centuries-old textile traditions with cutting-edge design education. In recent years, students from across India have started flocking to fashion designing institutes in Hyderabad to turn their passion into a professional path.

With a creative-friendly atmosphere, access to rich artisan networks, and modern academic facilities, Hyderabad is quietly becoming the go-to place for fashion aspirants. If you're thinking of stepping into the world of fashion, here’s why the institutes here are worth considering.

The Cultural Edge: Hyderabad’s Textile and Craft Heritage

One of the standout advantages of studying fashion in Hyderabad is access to traditional Indian art forms that are still alive and thriving.

Pochampally Ikat, Kalamkari, Narayanpet weaves, and Muga silk from surrounding regions inspire students to blend heritage with modernity.

Institutes often arrange artisan visits, textile trails, and dyeing workshops, which enrich classroom learning with ground-level insight.

These experiences make students culturally aware and help them design collections rooted in Indian identity, with global appeal.

Modern Infrastructure & Global Curriculum

Hyderabad’s fashion design schools are known for their advanced infrastructure, including:

Fully equipped design studios and labs

CAD software for 2D & 3D garment design

In-house textile printing and embroidery units

Libraries with fashion magazines, trend reports, and design journals

Photography and styling labs for editorial shoots

The curriculum is often benchmarked against international standards, combining traditional modules like garment construction and illustration with emerging areas like:

Fashion Forecasting & Trend Analysis

Sustainable Design Practices

Fashion Business & Entrepreneurship

Augmented Reality in Fashion

E-Commerce & Online Fashion Marketing

Learning Beyond the Classroom

Top fashion designing institutes in Hyderabad go the extra mile to provide holistic learning experiences. Students actively participate in:

Annual Fashion Shows and Design Exhibitions

Style & Branding Workshops by industry experts

Internships with fashion houses, boutiques, and stylists

Student exchange programs with design institutes abroad

Fashion film-making and digital storytelling competitions

These activities help develop soft skills like teamwork, leadership, and creative direction — essential for working in the real world.

Courses Offered by Fashion Designing Institutes in Hyderabad

Whether you're a beginner or looking to specialize, fashion design colleges in Hyderabad offer a variety of programs:

🔹 Certificate Programs (3–6 Months)

Ideal for skill enhancement or testing interest in the field.

🔹 Diploma & Advanced Diploma (1–2 Years)

Perfect for those wanting hands-on skills with quicker industry entry.

🔹 Bachelor’s Degree in Fashion Design (3–4 Years)

Comprehensive academic route with deeper design thinking, internship, and portfolio development.

🔹 Postgraduate Programs (1–2 Years)

Focused training in design innovation, fashion marketing, or merchandising.

Each course type balances creativity, technical skill, and business understanding, preparing students for a fast-paced, competitive industry.

Career Prospects After Completing Fashion Designing in Hyderabad

With the growing fashion scene in Hyderabad and across India, graduates from design schools can pursue careers such as:

Fashion Designer (Apparel, Accessories, Sustainable)

Textile or Surface Designer

Fashion Illustrator or CAD Designer

Retail Buyer or Merchandiser

Fashion Stylist or Visual Merchandiser

Costume Designer for films and TV

Fashion Content Creator or Blogger

Entrepreneur or Boutique Owner

Hyderabad also gives students the advantage of working in Tollywood, e-commerce startups, and independent fashion brands.

What to Look For in a Fashion Institute

Before enrolling, make sure the fashion designing institute you choose in Hyderabad has:

✅ UGC or university affiliation (for degree programs) ✅ Industry-experienced faculty ✅ Strong alumni network and placement record ✅ Access to labs, studios, and digital tools ✅ Focus on both Indian and global fashion perspectives

Also, explore student testimonials, sample portfolios, and past fashion shows to understand the creative output of each institute.

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theomeganerd · 1 month ago

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Scott Pilgrim EX Announced – New Brawler from Tribute Games Hits PC & Consoles

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Join Scott Pilgrim, Ramona Flowers and more in an epic Brawling Adventure across space, time and the streets of Toronto

Tribute Games, in collaboration with Universal Products & Experiences and Scott Pilgrim creator Bryan Lee O’Malley, revealed today an all-new, action-packed video game entry into the Scott Pilgrim universe, Scott Pilgrim EX. Fusing retro-inspired pixel art with chaotic four-player co-op combat, the game sends players on a wild, time-warped brawling adventure across a reimagined Toronto. Scott Pilgrim EX is expected to launch for PC and consoles in early 2026. Wishlist now at: https://store.steampowered.com/app/2640950/Scott_Pilgrim_EX

Watch the reveal trailer: https://youtu.be/fY3RgEkSfNk

Scott Pilgrim EX reimagines the fan-favorite universe with a modern approach to traditional brawlers. Players take on the role of Scott Pilgrim, Ramona Flowers and more of the all-star crew to battle a variety of enemies in a warped version of Toronto overrun by demons, vegan henchmen and robots in an epic quest to save the city.

With hard-hitting combat and explosive art, Scott Pilgrim EX reinvents classic 2D brawling for a new era, blending high-energy action with fun character progression. Each of the seven playable characters features a full move set from the start, but players can customize their experience through upgradeable stats, and equippable special items making every fighter feel truly personal. Players will be able to dive into a brand-new storyline, co-written by Bryan Lee O’Malley and the team at Tribute Games. They can also unleash creative combos, wield wild weapons, and brawl through co-op action—set to all-new music by Anamanaguchi —as Scott Pilgrim EX delivers a bold new chapter for longtime fans and newcomers alike.

Reuniting key talent from across the Scott Pilgrim multiverse and timeline, the Scott Pilgrim EX creative team is bringing the band back together and includes:

● Bryan Lee O'Malley, the creator of Scott Pilgrim, is deeply involved in the project as a creative consultant. Working closely with Tribute’s narrative and design teams, O’Malley is helping to shape an all-new original story that expands the Scott Pilgrim universe in bold, unexpected ways—infusing every frame, character arc, and twist with his signature voice and humor.

● Known for their explosive blend of 8-bit and hyper-melodic rock, Anamanaguchi returns to their roots after scoring the hit 2010 game, Scott Pilgrim vs. The World: The Game. This score will include several all-new tracks specially designed and curated for this Toronto-hopping adventure.

● Iconic pixel artist Paul Robertson collaborates with Tribute’s in-house team on character animations.

● BenDavid Grabinski, director and showrunner of Scott Pilgrim Takes Off, joins as creative consultant.

“Scott Pilgrim EX is the culmination of years of experience working on brawlers combined with our intimate knowledge of Scott Pilgrim," said Jonathan Lavigne, game director at Tribute Games. “It’s a full-circle moment for us. The original founders of Tribute Games all worked on the first video game incarnation of Scott Pilgrim before launching the studio in 2011. Coming back to this world feels like the most natural thing ever. This game is about friendship, our love of video games, music, and hitting robots in the face with a volleyball. It’s full of lore, references, easter eggs and passion. It’s the Scott Pilgrim game fans have been waiting for.”

“Working on a game like this is a dream come true, especially with this team of old friends and new collaborators. Scott Pilgrim fans won’t know what hit them in the slightest! EX-pect the un-EX-pected!” said Scott Pilgrim creator Bryan Lee O’Malley.

“As longtime supporters and fans of all things Scott Pilgrim, we are excited for the return of the franchise to video games,” said Bill Kispert, SVP & General Manager, Games & Digital Platforms at Universal Products & Experiences. “These undeniably unique characters kick a** in the interactive format, and we are thrilled to partner with this amazing group of creatives to bring a new chapter of Scott Pilgrim to life.”

Keep up with the latest from Tribute Games and Scott Pilgrim EX at https://linktr.ee/tributegames

#scott pilgrim #scott pilgrim ex #video games #gaming #gaming news #summer game fest #trailer #trailers #screenshots #Tribute Games #Youtube

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doyouremem8erme · 7 months ago

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asks for tomorrow when you are in (point emoji) The Car

what are your biggest inspirations for your ocs and the stories you want to tell?

if you could have absolute control over any book being adapted to film, what book would you choose and how would you adapt it? if you don't have a book choose something else

what is the sexiest car

1. i think the biggest thing is preexisting stories whether music or other works. but also various times in my life that i feel nostalgia for or that otherwise really affected me. and finally relationships that transcend boundaries of platonic/romantic and even fate and lifetimes.

for academy of bad cats, the biggest inspirations for the way the story is told are sparklecare and matilda. but the story itself is still very much at least very loosely based on real events

liminaland is a bit of an outlier since its much more rooted in aesthetics than my other stories, but it did have inspiration from infinity train and a bit from amphibia. and the relationship between the main characters is certainly one of those relationships transcending expectations of platonic and romantic attraction.

the world of light was very inspired by various songs by sleeping at last—the “light” in the title comes from light, which inspired the very first short story i wrote in that setting—melius’s story, which establishes the timeloop and the doomed romance between him and mahina. its still quite funny to me how closely the plot of world of light resembles homestuck despite being put together years before i ever read it, and the fact that the timeloop was created by a character literally originally named akemi before i renamed her to atsuko to stop it from resembling pmmm, which i also hadnt watched and knew almost nothing about at that point! bigger inspirations for the world of light were the sajana/bayala books by gecko keck, and the wolves of the beyond books.

other minor characters i have are usually based around a very specific theme song or concept. sarah and ben are based on the plans album by death cab for cutie, from their designs to their story to their names. phoebe and mara started out as designs i was given based on moodboards i made, and their stories grew entirely out of those designs.

2. hmmmm well before the wildwood movie was even announced as being made by laika that was already my ideal vision for an adaptation and i am sooo excited for it to come out… the laika style complements carson ellis’s illustrations sooo well

but since that one is already happening! i think an anime movie of escaping exodus by nicki drayden would be absolutely beautiful… the visuals in it already feel like if studio ghibli was gorey body horror i think itd work so well

also i know it would never happen and if it did happen it would not be to the vision of fans. but… animated warrior cats movie… hot take lowkey would be kinda fire if they actually USED that realistic 3d animation style for it. like the fandom is so so full of talented 2d animators that create so much incredible stuff on their own but 3d is harder to pull off well on a low budget. and seeing those books brought to life like that would be insanely cool. ofc it would be way too violent for the target audience of the books but if we are simply talking dream scenarios…thatd be so cool. and it would be cool if it was 2d animated too! they both have their pros and cons.

finally another that i know would never be done well but i would still want to see so goddamn bad would be. homestuck movie series. they could probably pull it off in 6 movies at the most and ive talked abt how it could be split up before… i think it should be slightly cheesy live action. like a little bit campy with intentionally dated cgi especially within the medium. faithful to the original comic but perhaps adding in some more modern references… imagine if they were able to get some of the iconic homestuck fandom songs for it. what if lets see how far weve come played in the end credits of one of the movies. i had a wholeass dream abt this once. and i wish it was real so fucking bad. but i know it never will happen

3. i dont know enough about cars to answer this sorry…

#lore talks

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mi4011-elrenrikvagbandara · 3 months ago

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Animators Research 03

Final round-Lets finish this!

Animator 03- Tomm moore

Tomm Moore: The Soul-Stirring Animator Who Connected Me Back to My Roots

So I've been having this weird existential crisis lately about disconnection from nature and our own cultural stories, and then I stumbled across Tomm Moore's films at 2am in my dorm and honestly? I haven't been the same since.

The Man Behind the Magic

Tomm Moore is this incredible Irish animator and filmmaker who co-founded Cartoon Saloon, an animation studio based in Kilkenny, Ireland. He was born in 1977, Moore grew up in Northern Ireland during the Troubles, which probably explains why his work feels so deeply connected to healing cultural wounds and rediscovering lost connections.

What makes Moore special isn't just his technical skill (though it's INSANE), but how he's dedicated his career to reviving and reimagining Irish folklore in a way that makes these ancient stories feel urgently relevant to our modern lives. His "Irish Folklore Trilogy" - "The Secret of Kells" (2009), "Song of the Sea" (2014), and "Wolfwalkers" (2020) - has earned multiple Academy Award nominations and critical acclaim worldwide.

But what strikes me most about Moore isn't his accolades - it's how he's remained so committed to telling stories that matter, stories that restore our sense of wonder and responsibility toward each other and the natural world. In interviews, he comes across as this genuinely thoughtful person who creates art not for fame but because he believes these stories need to be told now more than ever.

His Soul-Touching Art Style

Moore's animation style is like this visual lullaby that somehow manages to be both soothing and electrifying:

These absolutely gorgeous hand-drawn illustrations that feel like illuminated manuscripts come to life

A deliberately flat, 2D style that references Celtic art, medieval illustrations, and folk art

These geometric patterns and spirals that seem to breathe with ancient meaning

Color palettes that shift between earthy, grounded tones and these moments of transcendent brilliance

What moves me most about his approach is the intentional rejection of the 3D hyper-realistic animation that dominates the industry. Moore's style feels like this beautiful act of resistance, reminding us that animation doesn't have to mimic reality to move us - sometimes the stylized impression of something captures its essence more truthfully than photorealism ever could.

The way he handles movement in his films is mesmerizing too. Characters transform in fluid, dreamlike sequences that blur the boundaries between humans, animals, and the natural world. Water, trees, and stones pulse with life and intention. Everything feels interconnected in a way that's hard to describe but impossible to forget once you've experienced it.

Why His Work Breaks Me Open Every Time

I didn't expect to find myself sobbing over animated films at my age, but here we are. Moore's work hits me in places I didn't even know were hurting

When I first watched "Song of the Sea," something inside me recognized a loss I couldn't articulate before - this sense that we've forgotten how to listen to the world around us, forgotten the stories that once helped us make sense of our place in it. The scene where Ben finally understands his mother's sacrifice just wrecked me because it felt like watching someone rediscover a connection I've been missing too.

His films speak to that lonely part of me that feels adrift in our digital, disconnected world. There's this moment in "Wolfwalkers" where Robyn experiences running with the wolves for the first time - that wild freedom and belonging to something greater than herself - and I realized I was holding my breath, my heart aching for that feeling.

Moore's animation reminds me that the boundaries we've created between ourselves and the natural world, between reality and magic, between past and present, are more permeable than we think. His characters always exist at these thresholds, teaching us that healing often begins when we're brave enough to cross over, to see differently.

What destroys me (in the best way) is how genuinely his work holds both joy and grief. His stories don't shy away from showing real loss - parents die, cultures are suppressed, environments are threatened - but they also show us that love persists, that compassion matters, that reconnection is possible even after terrible severance.

In my darkest moments of climate anxiety and cultural alienation, Moore's films offer not empty comfort but a gentle reminder that we come from storytelling traditions that have weathered dark times before. His animation feels like a hand reaching across time, inviting us to remember what we've forgotten and imagine what might yet be possible.

If you haven't experienced Moore's work yet, please don't wait. Start with whichever film speaks to you most - they're all portals to the same beautiful understanding. His art reminds to all of us that the old stories aren't relics; they're medicine for exactly what all our modern hearts.

FINALLY THIS IS DONE NOW ON TO THE NEXT ONE!

#TommMoore #CartoonSaloon #SongOfTheSea #Wolfwalkers #Animation #IrishAnimation #FolkloreTales #AnimationArt

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ariel-seagull-wings · 6 months ago

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@themousefromfantasyland @adarkrainbow @thevampiricnihal @the-blue-fairie @princesssarisa @professorlehnsherr-almashy @obufalo @soviet-supersoldier

‘Excellent visual storytelling and narration, definitely recommend this film for the archive.’

Vera Lackova

Synopsis

The story of the Cigánymesék / Romani Tales cartoon series started in 2013 at the Kecskemétfilm Studio under the direction of Ferenc Mikulás and Mária Horváth, who wanted to share Romani folk traditions and combine them with contemporary Roma cultural values. The story of the animation cartoon series contains three episodes: The Romani Woman and the Devil (2014), Kalo (2015), and Doja, the Romani Fairy (Doja a Cigánytündér, 2015).

In order to create the three animated short movies, the director cooperated with the same Romani artists who are close to their own Romani roots; Magda Szécsi a Romani writer and illustrator, Teréz Orsós, a Romani painter, József Oláh, a musician, and Erika Varga, a fashion designer. This innovation allowed the artists to represent Romani myths and oral heritage while also illustrating tradition with contemporary art through their storytelling skills, fusing drawings, paintings, and traditional music.

As a result of their work, the animation presents loveable and complex Romani heroes and heroines and helps to create a positive representation of Romani communities and their traditions.

Myths and fairy tales have a high relevance to Romani history. Furthermore, the Doja the Romani Fairy episode clearly illustrates the poverty and exclusion that Roma face. They are dreaming about their own land, and the fairy gracefully strolls down a rainbow to be amongst her community and to help them. Clinging to her long, jet-black hair, they fly with her to a wondrous island, where they can build the Romani land in freedom and live happily in peace. But then, one day, terrible monsters called szülláks attack the village.

The animation series is a combination of modern techniques – the director uses 2D and 3D animations – and contemporary Roma art visuals accompanying the folk tales. Teréz Orsós, a painter and graphic designer, designed the visual background for the animation. She mainly creates warm, earth-coloured genre paintings about the traditions and everyday life of Romani people. The main theme song and background music is in the traditional Roma music style, written and played by musician József Oláh, the frontman of the band Parno Graszt. In the Doja, the Romani Fairy animation episode by Magda Szécsi, we can find the ‘bitter fate’ motif of wandering when the community cannot climb on Doja’s magical long hair; instead, they remain scattered throughout the world, and it is their destiny to find one another.

The Romani Tales series received several international and national awards: the Doja, the Romani Fairy episode received an award at the 12th Kecskemét Animation Film Festival (2015), the special prize of the Hungarian Lutheran Church Lutheran Diakonia. In Stana, Transylvania (2016) it also received the first prize at the III International Ethnographic Film Festival.

In the meantime, three new episodes from the series Romani Tales have been completed: How Was Man Created (2017), The Fiery Red Snake (2017) and The Story of the Sun and the Moon (2017).

#romani tales #romani representation #race representation #eastern european animation #folklore #folktales #fairy tales #mythology

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digitalabhishekgupta · 3 months ago

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Reliance Animation Academy Andheri – Why the BSc Degree in Animation Is Redefining Creative Education in 2025

1. Introduction: Why Reliance Animation Academy Andheri Is the First Choice for Creatives

As the demand for skilled creators in film, games, and digital media continues to grow, Reliance Animation Academy Andheri is shaping the future of animation education with its specialized BSc Degree in Animation.

Unlike traditional degrees, this program offers a dynamic and immersive learning environment where students develop real-world skills that directly translate into jobs. With the rise of OTT platforms, AR/VR tech, and digital storytelling, creative professionals are now more essential than ever.

If you’re a student looking to build a future in visual media, this course is designed for you.

2. The Shift from Traditional Degrees to Skill-Driven Learning

Conventional courses like B.A., B.Com, or B.Sc. offer a theoretical foundation, but they often leave students underprepared for modern industry demands. The limitations include:

Outdated syllabi

Minimal practical training

Lack of exposure to professional software

Weak placement outcomes

In contrast, animation courses in Andheri now offer a smarter choice—built around practical experience, cutting-edge tools, and portfolio development.

3. Inside the BSc Degree in Animation: Learn Like a Professional

The BSc Degree in Animation isn’t just about drawing or editing—it’s a complete professional training experience that covers:

Concept art and character design

2D/3D animation production

Digital filmmaking and cinematography

Game environment creation

AR/VR and immersive storytelling

Motion graphics and VFX fundamentals

Students use industry-standard software like Maya, Blender, Photoshop, After Effects, and Unreal Engine, placing this course among the most advanced animation classes in Andheri.

4. Career Outcomes: Where Can a BSc Degree in Animation Take You?

Graduates of this program are equipped for roles in diverse creative industries including:

3D Animator

VFX Artist

Motion Graphics Designer

Game Designer

AR/VR Content Developer

Storyboard Artist

Digital Illustrator

Graphic Designer

The curriculum is aligned with hiring needs in entertainment, marketing, gaming, education, and tech—placing students on a fast track to career success.

5. Studio Training and Internships: Experience That Sets You Apart

One of the biggest advantages at Reliance Animation Academy Andheri is its studio-based internship program. Students work on real projects, follow professional timelines, and receive feedback from industry mentors.

This type of experience is rare in academic institutions and offers a huge edge in competitive job markets—especially for those exploring vfx courses in Andheri or multimedia design careers.

6. A Global Career with Local Roots

The skills learned in this program go beyond borders. With the explosion of digital media and freelancing platforms, students can:

Work remotely for international studios

Launch careers in gaming, OTT, and mobile content

Build global portfolios from right here in Mumbai

This global reach, paired with hands-on studio experience, makes this course ideal for aspiring creators who want flexible, location-independent careers.

7. Why Students Are Choosing Reliance Animation Academy Andheri

Here’s what sets this academy apart:

Located in the media heart of Mumbai

Mentorship from working professionals

Real-time software training in animation and design

Access to multiple career tracks including graphic courses in Andheri, animation courses in Andheri, and vfx courses in Andheri

Dedicated support for internships and placements

Project-based learning and professional portfolio development

It’s not just education—it’s a launchpad to a successful creative career.

8. Ready to Begin Your Creative Journey?

Reliance Animation Academy AndheriCenter Unit No. 14, 2nd Floor, Shri Alankar CHS Ltd, Nadco Shopping Centre, SV Road, Near Andheri Railway Station, Mumbai – 400058 Phone: +91 9326591557 / +91 7400400795 / +91 9920678816 Email: [email protected] Website: relianceacademyandheri.com Google Maps: Click to Navigate

Apply today for the BSc Degree in Animation and take the first step toward a creative career with global potential.

#reliance animation andheri #vfx courses #animation courses

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