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November 2, 2021November 5, 2021

CHP FIVE: Hanuman And The Animation Principles.

Hanuman

And The Animation Principles PART ONE.

“ Live-action performers have charisma, an animated character has appeal.”

― FRANK AND OLLIE, THE ILLUSION OF LIFE

If I’ll ask you to go down memory lane and choose one Indian animated movie that you absolutely loved watching and adored as a viewer.

Then most probably, the one film that will instantly appear in your mind is none other than “Hanuman” released in the year 2005, directed by V. G. Samant and produced by Percept Picture Company and Silvertoons.

Hanuman, by far, is said to be the best full-length animated feature film in India, and no other movie managed to attain the popularity and success as it did.

As soon as the movie hit the silver screen, we were immediately swept away by the flawless direction, exquisite animation, and iconic characters.

And on top of that, the end credit song Mahabali Maharudra sung by Sonu Nigam and Kailash Kher adds a sense of inspirational touch to the film that helped it to establish its sound identity, making it a complete family entertainment.

We have all the reasons to love this movie as it possesses all the elements of a blockbuster. But what makes it so unique, and why no other film is still able to re-create the same supernatural experience and power we felt with Hanuman despite the age-old storyline we grew up hearing or watching.

And the answer to that question is “THE PRINCIPLE OF APPEAL.”

Animation works on some essential tools and mechanisms known as “The Twelve principles of animation” that were first led down and published in the animation Bible “The illusion of Life.” Written by Frank Thomas and Ollie Johnston, two of the key animators out of nine old men at Disney during the Golden Age of animation.

The animation principles they presented in the book have a universal framework that can fit in the mold of any design and process and has been used since then in the art of animation.

Before we try to comprehend how the principle of appeal contributed so immensely to the success of Hanuman, let us first have a brief look at all other animation principles to have a better understanding of the working process of this craft for everyone interested in exploring the groundwork needed in this discipline.

1-Lets us start with the most versatile and fundamental techniques called Squash and stretch.

The purpose of squash and stretch is to provide a sense of weight and flexibility to drawn objects like something as simple as a bouncing ball or more complex constructions, like the musculature of a human face.

In simple words, this effect gives animation an elastic life-like quality to imitate the real-life quality of a distorted object when it is acted upon by an outside force, but with a hint of an exaggeration to give it a comical effect.

2-Next comes to the animation principle of “Anticipation” which helps audiences to prepare for what’s about to happen.

For example, imagine you’re about to swing a cricket bat. What’s the first thing you do? Do you pull your hands back to wind up? Twist your shoulders in the opposite direction? That’s anticipation!.

As the action in animation can be very fast that can be missed and can get unnoticed. Anticipation draws the viewer’s attention and enables them to clearly see the character’s action and understand what the character is planning to do so that each movement does not come as a sudden surprise.

3-And every action the character undertakes should be carefully matched within the scene with the support of the next principle, that is, “Staging.”

Now, staging isn’t just limited to animation; it’s a core part of any artwork and filmmaking. Its purpose is to direct the audience’s attention and make it clear what is the most important thing in a scene that effectively advances the story.

In simple terms, it’s the combination of the position of the camera angles, colors, contrast, characters, and the props we need to show within the scene and blurring out what’s not important.

4-Once the stage is set, we move forward to the next animation principle, called “Straight Ahead Action and Pose-to-Pose.”

Now, this principle is related to actual work that goes into animation and deals with the technical aspect of it, but it’s relatively simple to explain. There are two ways to animate anything; the first is the Straight ahead method.

In this approach, animators draw each frame of an action one after another from start to finish. Whereas in the pose to pose way, animators draw the extreme poses, that is, the beginning and end drawings of action, then they go on to the middle frame and start to fill in the frames in-between.

5-And once the key actions are choreographed, follow-up movements are added with the help of the fifth principle, called “Follow through and overlapping action.”

This is the part where the laws of physics are obeyed, which help to render movement more realistically. The basic idea behind this is that when an object or a character stops after being in motion.

The loosely attached part of the body, like long hair, clothes, and hanging accessories, will continue to move beyond the stopping point of the main object or character and take a longer time to settle down and come into a state of rest.

6-The follow-through and overlapping action really help to make the motion look organic, which is assisted by the sixth animation principle called “Ease in and ease out.”

Ease in is a slow acceleration into motion, and ease out is a slow deceleration of that motion. The simple way to understand this principle is by imagining how a car works. It will start moving slowly, before gaining momentum and speeding up.

The opposite will happen when the vehicle comes to a stop. In animation, this moment is achieved through the proper spacing of the frames that is the distance between each frame.

For example, if you look at the picture below, you will see that more lines that represent the keyframes are drawn near the beginning and end of action, and very few in between them.

This effect helps to achieve more real-life-like motion, which, if blended with our next principle, works very well that we will have a look at in our next chapter.

Yes, the animation principles laid down here are just halfway road leading to the destination we need to arrive at. But there are a lot more subtleties and world-building we need to explore to achieve the experience the creators of Hanuman undertook to make it so memorable.

So I will encourage you to read this chapter once again until you grasp it to the fullest before turning the page to the next chapter that will reveal the following six animation principles without which animated movies wouldn’t be what we see today.

March 29, 2021March 29, 2021

The Snyder Cut: And The Vision Of An Artist!

So finally, after years of constant demand and protest on social media by DC fans around the globe, “The Snyder Cut Justice League” is out. And fortunately, this version has managed to undo the damage caused by the theatrical release in 2017. A film that caused more grief to our heroes than all the villains combined in the history of the DC universe. But now, the Synder Cut has lifted the burden from the shoulders of our esteemed protagonists and cleared the stain caused on their characters.

But in this article, we are not going to compare the two films as the reviews are out, and everyone can clearly see the impact it has been creating since it went online. Audiences and critics alike are showering praises on this new 2021 release, and everyone seems to feel a sense of relief as all the hard work has been finally paid off. So instead, we will emphasize an essential aspect of any art form that needs to be cherished by those around the creator, and that is “The Vision of An Artist.”

So much has been written and said about Zack Synder’s fallout with Warner Bros and how he was constantly interrupted by the management to alter things according to their terms and conditions. And I am not even stating on Joss Whedon’s arrival but things that were happening way before Zack decided to walk away. Initially, everyone was on the impression that Snyder left the project due to the unfortunate demise of his lovely daughter. But recently, he admitted in interviews that he was at loggerhead with producers almost from day one. But my question is, WHY?

Yes! Why do people who are supposed to oversee the finance, amenities,
standards, practices, etc., exhibit the need to interfere between the artist and his vision? Sure I agree that they have the best intention to make the product marketable and keep it out of any trouble. But why would someone who has no creative background feel the need to pierce their creative perspective into a vision of someone who has already proved their abilities to heighten the audiences’ experience through their take on things?

But this isn’t the first time such a thing has happened and probably won’t be last as most artists deal with it all the time since the dawn of professional artistry. We have been programmed to believe that customer is king or client is always right, because of which most artists have no choice but to compromise on their artistic values and alter their approach towards the work. I understand that many won’t have any issues with it as in the end, our motto is to make the clients delighted.

But my question is, shall the same principles need to be applied to an artwork meant to be made by larger audiences than a specific client?. Because in this case, the end client is the audience and not executives sitting across the board. Sure, an artist isn’t going to deliver a masterpiece every time they paint the canvas. But at least they have the in-depth knowledge of shades of their work and knows how to get the best out of it, especially if they have a proven track record.

Executive and Producer’s inputs are vital and need to consider respectfully as a lot is at stake with such a big-budget project. But at the same time, they need to respect the artist’s vision as well and give them the creative freedom required to make a better commodity. Imagine if the artist starts taking a call on the finances and what if it justifies the need to show blood in a kids movie. I am sure he will be immediately shown the way out cause of obvious reasons.

Just like that, non-creatives shall not be liable to decide which scenes are suitable in the context of the story and which ones shall be axed as long as it follows the norms of standards and practices. Like it happened with Batman and Joker’s Knightmare scene as the studio wasn’t pleased with its inclusion. On the other hand, Snyder precisely knew why he needs that iconic moment in the narrative of this epic mythology. And guess what, it turned out to be the most talked-about aspect of the whole Justice League Saga.

And this is just one instance; there are many such incidents where the artists were not given the creative liberty to pursue their vision, which eventually blinded the whole project. A couple of such examples are Edger Wright’s departure from Ant-Man and Patty Jenkins, quitting the much-maligned Marvel sequel Thor: The Dark World, all due to the classic “Creative differences” melodrama. Sure, some decisions work in favor of the studio, but in-case an artist goes away in the middle of the project, it gets way complicated for the other person to fill the shoe as it happened with Justice League.

The authorities need to understand that art can’t be commerce-driven but needs to be molded with feelings and emotions. That’s what separates it from the business. That’s what makes these fictional characters so relatable despite their superhuman persona. That’s what the superhero genre has become so vast and integral part of our pop culture because few artists created them with all the love and affection, away from the greed and need to make it market-friendly.

And it is always going to stay that way when it comes to art and the artist’s passion for their craft. No money, no strategy, no market can replicate that, and it’s high time to realize this essential truth of creative endeavors, which is once again proven by Zack Snyder.

“The Synder Cut is just not a directorial take on a film, but it’s a huge statement made by an artist struggling to get things done by his vision. It’s a revolutionary moment in the history of any art form that demands to break the shackles tied around artists’ wrists. It’s vivid evidence of what could happen if the original creator has been given the freedom to follow his or her heart, all for the sake of making an inspiring art. Think About It!”

Do you agree with this article, do share your perspective in the comment section below. Also, do read my take on similar struggles faced by Indian artists in the section “THE FAULTS IN OUR ARTS!

March 13, 2021March 14, 2021

CHP FOUR: CHHOTA BHEEM: AND WHAT MAKES IT SO BIG?

“ Pogo was exploring to shut down the channel, and I too had had a long journey with failures by then. A lot was riding on Chhota Bheem.”

― RAJIV CHILAKA, CREATOR OF CHHOTA BHEEM

For the USA, it all started with a dream and a mouse back in 1928. Since then, the animation industry’s journey over there has been no lesser than a fairy tale story.

Whereas in India, it all started with a dream and a couple of deer in 1957 when “The Banyan Deer” captured the attention of our audiences. But soon, the dreams of the illusion of life faded away like an illusion itself, and the Indian animation industry never came into the picture despite the massive success of international shows in the coming years.

Until Chhota-Bheem debuted almost a decade ago in the midst of an era where international heroes like Spiderman, Batman, Supermen once again started to regain their powers and control over the audiences.

Both DC and Marvel are filled with thousands of heroes, each with their own story, characteristics, and decades of evolutionary enhancement. And despite the vast popularity and better technicality of international superheroes, our local boy managed to pave its way and become a fan favorite amongst kids. So what it’s about Chhota-Bheem specifically that resonated with kids so well and makes it so big?

Created by Rajiv Chilaka, Chhota Bheem debuted on Pogo in 2008, a channel struggling to survive at that time. Despite facing constant rejection for years, the network decided to take a chance with it, and they gave it a green signal, or should I say, “Green Gold” signal. And it’s Chhota Bheem’s practicality, simplicity, and psychological connectivity that helped him to resonate with our children so well. And it became the brand that it is today.

It’s a show that redefined the conventional superhero genre by understanding the kid’s state of mind and impatience for origin stories. As it can be boring to watch sometimes, even as an adult. Kids want to see things and people in action, and that’s what Chhota Bheem provided right from the go.

Every kid secretly dreams of being a superhero, and Chhota Bheem was a character that provided that hope without being preachy. It’s a character who likes to hang-out with friends, eat sweets, and fight bullies, things that most of the kids long to do. And yes, he doesn’t have to bear the burden of education either, which can be controversial to term as a positive trait, but it’s a dream come true for many kids.

The idea that you don’t need technology, money, fancy clothes, genetically gifted parents, or be a victim of some scientific experiment to have the superpower empowers the kids to utilize what they already possess and stay grounded to their roots.

And the most crucial factor is that Chhota Bheem deals with his own problems despite being small. And unlike other superheroes who are dealing with the complexity of their dual identity, Chhota Bheem takes a straightforward approach to be himself all the time. Which makes it easier for kids to empathize with him without keeping track of multiple issues that other heroes go through.

Another vital element Chhota Bheem has is that he is a guy with good intentions. He does not have any selfish motto behind his undertakings. He is a guy who will help and fight any evil for society without expecting anything in return. He is an epitome of a friend we all need and wish for. Someone who is always there for us, someone on whom we can depend, someone who can help us to sail through the obstacles life throws at us.

But as they say, “With great powers comes great responsibilities.” Even though Chhota Bheem managed to stay in our hearts and transformed into Super Bheem. Somewhere down the line, the good-spirited boy needs to grow up as a character if he wants to continue to endure amongst the lights of other great Superheroes.

A year ago, I got the opportunity to work on the new season of Chhota Bheem. And on the honest note, because of Bheem’s iconic image, he is trapped under so many moral codes of conduct that, as a writer, it takes the fun element out of it.

Just like Superman, Chhota Bheem is the epitome of perfection and is truly invincible. But Superman at least has a Kryptonite to fear. With Chhota Bheem, he has no such weaknesses to explore; no internal flaws or external forces could defeat him. And that is one reason adults have difficulty relating to it. Because for many, character’s shortcomings make them human and exciting to watch.

And these qualities of perfectionism aren’t just limited to the main protagonist of the show. If you observe carefully, even his friends are incorruptible, loyal, well-behaved. And one thing I really found strange to deal with is that they don’t have their own opinions, never oppose Bheem’s views and blindly follow his orders. All these things really make them come across as flat in terms of personality traits, and it is hard to distinguish their unique qualities.

But as a writer, I love to take challenges and, so in many episodes, we managed to find a way to make Bheem and his team look helpless and made them go through situations that we as humans can resonate with.

For example, in one of the episodes, I took away Bheem’s luck factor that made him a victim of series of unfortunate events. Right from something as trivial as tripping on a banana peel to something as bizarre as getting swallowed by a giant anaconda to something as painful as getting struck by lightning (twice).

All these scenarios give the episode a refreshing touch. And it will be surprising for loyal fans to see Bheem struggling with daily activities. It was an excellent opportunity for me to execute what I always felt the show needs to incorporate to take it further. And despite my initial doubts, fortunately, the Green Gold and Turner team gave their approval to it, and I am very thankful for it.

Another major challenge with Bheem and the team is that they are ten-year-old adults. Yes, I hardly see them making the mistakes that children of their age will commit. They rarely ever make fun of each other and deals with any obstacles like a fully grown adult. I understand that all these factors are actually the USP of Chhota Bheem and made it a success today.

But the same reasons make it hard for the writers and animators to work a gag around the main characters and are restricted to show them in a good light all the time. I understand that Chhota Bheem is a huge brand, and the creators are playing it safe with it. But they need to stop taking it so seriously, and they need to have fun with it.

Let the Characters sometimes act according to the situation rather than what the guidelines expect them to act. Let them alter their approach towards the problems, let each one of them have their own opinions, let them work around their differences. And, most importantly, let them be kids, which will make them unpredictable and exciting to watch, even for adults.

It’s been more than a decade since Chhota Bheem aired on TV, and we didn’t see any development in his or his friend’s core values, conducts, and psychology. What we really need to understand is that the reason why heroes like Batman, Superman, Spiderman continue to entertain, educate, and inspire us is that they evolved with time.

Just like us, these characters learned from their mistakes, worked on their flaws, and dealt with issues that we, as growing adults, can relate to. They continue to make us aware of the fact that life isn’t as easy as we think. And sometimes, we need to make a decision that might not satisfy everyone. Sometimes we need to make selfish choices. Sometimes we need to hide behind a mask for the wellness of our loved ones, and sometimes even superheroes need help.

I understand that Chhota-Bheem is for specific target audiences, and it’s perfect in its own sense. But it will be great to see our little one growing up, just like we all do in life.

What are your thoughts on the show, do share your valuable opinions in the comment section below?

This was the fourth chapter of the series “The Faults In Our Art!” do check out others by clicking on the given link.

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March 7, 2021October 5, 2022

CHAPTER 03 RAMAYANA: THE LEGEND OF PRINCE RAMA AND THE BATTLE TO RELEASE IT

“Anyone can tell a story because Ramayana is a plot-oriented tale, but the key to Sako is that he finds humanity in his characters.” ― Krishna Shah, Co-Director, Ramayana

Anybody who grew up in the ’90s will recognize the animated film Ramayana: The Legend of Prince Rama, which was made as a part of the 40th anniversary of the India-Japan diplomatic relationship. This mythological tale was recreated and Directed by Yugo Sako along with legendary Indian Animator Ram Mohan.

The Hindi version featured dubbing voices of many big stars, including Arun Govil as the voice of Rama, Legendary Amris Puri as the voice Ravana and powerfully narrated by Shatrughan Sinha, added the interest in the audiences.

And after its release, it left a tremendous impact on a generation who already had a set perception about this sacred text through one of the most popular television shows in the history of the Indian entertainment industry that aired on Doordarshan.

And miraculously, the anime managed to create its own identity with its fusion of U.S., Indian, and Japanese style animation, brilliant screenplay, impeccable characterization, design, camera angles, and, more importantly, by staying respectful towards its cultural significance in the Indian civilization that managed to capture the attention of both kids and the adults.

But just like the actual tale of Ramayana, the movie also fought an epic battle for its existence and survival to reach its viewers. Yes, the creator of the film has to overcome various forces, to turn this religious work of stunning antiquity into an animated movie. So let’s have a brief look at Yugo Sako’s journey into the sacred world of Indian mythicism and his sincere efforts to make this animated retelling of an iconic story.

It all began when Yugo Sako was working on “The Ramayana Relics,” a documentary in 1983; he was so highly enticed into its spiritual theme that he researched more in-depth into the subject and went on to study 10 versions of Ramayana in Japanese. After extensively researching the epic mythology, he aspired to adapt it into animation. Because he didn’t think a live-action movie could depict the true essence of Ramayana, “Because Ram is God, I felt it was best to depict him in animation, rather than by an actor.” Said Yugo in an interview.

And that’s when the struggle began.

A leading newspaper misunderstood Yugo Sako’s documentary and wrote that he was altering the Ramayana. Soon after that, a protest letter based on the misinterpretation from the Vishva Hindu Parishad was received by the Japanese Embassy in India’s capital. Which said that no foreigners could arbitrarily cinematize Ramayana because it was the great national heritage of India.

After the misconceptions were clarified, Yugo Sako suggested the idea of an animated Ramayana to the VHP and the Government. He told them that animation was an earnest art form in Japan, and it would help bring the Ramayana to a broader global audience.

The Government agreed initially but later declined his proposal for a bi-nation collaboration, saying the Ramayana is a very sensitive subject and cannot be portrayed as a cartoon. Also, the fact that the movie was being made at the height of the Ram Janmabhoomi movement added to the controversy and axed the prospects of producing it in India.

With no choice and support left, The movie was ultimately produced in Japan, with nearly 450 artists from both the nation contributing to its creation. Indian animators guided their Japanese teammates with Indian customs and traditions depicted in the film, like how dhotis are worn and how the children receive blessings from their elders.

Now when the production process was sorted, the quest was to take it to a global audience. After eight months of negotiation, Yugo finally convinced a big Hollywood studio to release it to U.S. audiences.

But next came the tricky part: The studio wanted to alter the storyline, sending Ram and Sita into the forest for their honeymoon and substituting the entire myth of fourteen-year exile or Sita’s abduction. They wanted to turn it into a straight adventure concept despite it being a perfect plot in all sense. The producers and Yugo disagreed with it and parted away with the studio as it was clearly against their sensitivity, which eventually prevented it from gaining a wider release.

This whole saga is such a great example of choosing art over commerce. Sako precisely understood the sentiments attached to it and devoted a decade of his life to bringing this eternal mythology on the big screen. Sako believes his exposure to India has taught him to see the larger picture rather than worry about short-term goals. In an interview, he said, “If I pass away, then this work can be done by others, and if I die, I can be reborn and continue the work.”

So the current generation of artists needs to learn from Yugo Sako’s work ethics and should not easily bow down to the demands of commercialism. The passion portrayed by him is something that needs to be embraced by each one of us that will eventually reflect into our movies and shows and will assist us in doing better artistic work.

The biggest lesson for Indian animators here is to learn the importance of patience to do justice with our art, especially when dealing with such divine subjects. In India, we often see that we really underestimate the importance of detailed research and are more focused on delivering the half-hearted output that eventually gets the half-hearted response from the audiences. This approach of quantity over quality has been a big hurdle on the path of our animation that needs to address as soon as possible.

Sako taught us that in our pursuit of purpose and goals, just like Prince Rama and Mighty Hanuman, we will face the demons, but it’s essential not to compromise with our morals and ethics and continue to walk towards the bigger vision we have. Indeed, it is such a kind of dedication from an artist that influences a generation to come. It is such a kind of commitment that helps to overcome obstacles and hurdles in the creation process, and it is such kind of devotion that makes the art and the artist immortal, just like the real “Ramayana.”

Do make sure to read other articles in this series by clicking on the link: The Faults in our Arts!