There was no money for pencils and paper, and he wanted to draw

Walt found tar and a stick and drew a house. One of his neighbors paid him 25 cents for drawing his horse on a piece of paper. Disney later believed that it was a successful portrait of Dr. Sherwood’s mare that gave him the idea to become an artist. He started selling his first comic books at the age of 7, took part in the creation of the school newspaper as an artist and photographer, attended the Academy of Fine Arts in the evenings and took a course of newspaper cartoonists. When Walt turned 10, the family moved to Kansas City in search of a living. There was a giant rich mansion behind a high fence, surrounded by a lush garden. All the local kids were anxious to crawl in through some secret crawlspace.

Walt vowed that when he grew up, he would build a huge house with entertainment for the children and a huge garden to play in. Thus was born the dream that 40 years later became Disneyland.

Everyone probably knows the famous fairy tale screensaver of Walt Disney’s cartoons and movies. In the fall of 1918, Walt volunteered for the Red Cross and was sent overseas, where he spent a year working as an ambulance driver. Upon his return, he managed to enroll at the Art Institute of Chicago, where he discovered that his true talents were in the field of comprehension and project coordination. He wanted to get out of that building sooner, and start working on his own. He took a job with a restaurant firm that needed some fun advertising drawings as signage. Walt by then seriously interested in animation, quit unpromising work and with $ 40 in his pocket went to Hollywood.

The idea of creating cartoons became obsessive. Desperate to get a job, he rented his uncle’s garage, placing in it everything necessary. Together with his brother Roy, they create Disney Brothers Cartoon Studio, where Walt’s future wife Lillian Bounds soon came to work, and on October 16, 1923, he signed a contract with distributor Margaret Winkler, changing the name. This date is considered the day of the founding of the current Walt Disney Company.

On March 1, 1924, Disney presented its first stunt film, Alice’s Day at Sea, based on the book by Lewis Carroll. Alas, the contract was written so that it was the distributor, not the author, who owned the rights to the cartoon characters. Winkler managed to poach 4 artists studio and planned to produce cartoons about the famous by then famous Oswald the rabbit without the participation of the creator, that is, Walt. It was a bitter, but useful lesson for Disney, who has since closely monitored that the rights to all his creations belonged only to him.

Walt immediately invented a new star – Mickey Mouse and as soon as the sound movie appeared, immediately adopted the experience of colleagues and began to voice cartoons. The third film in the series, already with sound, was released on November 18, 1928 and was the beginning of the era of Mickey Mouse.

In parallel, Walt Disney launched the production of “Silly Symphonies” and it was a cartoon from this series won in 1932 for the studio’s first Oscar as the best drawn film. From then until the end of the pre-war decade, Disney won an Oscar every year!

It turned out that cartoon characters could be a good source of income and portraits of Mickey Mouse and other characters began to appear literally everywhere. This brought good money and promoted promotion. In 1937, the screens came out “Snow White and the 7 Dwarfs”, for a long time becoming the highest-grossing movie of all time, its record was overtaken only by “Gone with the Wind”.

In 1925, Walt married Lillian, in 1933, after two miscarriages, a daughter Diane Merry was born, and in 1937 the couple adopted a girl Sharon May. Diane always claimed that his father was a model family man, but about his affair with actress Dolores del Rio was known to everyone in Hollywood. No reporter dared to ruin his reputation in gratitude for the fact that Disney created a world of happiness for everyone. Meanwhile, Disney was an ardent anti-communist and did not hide it. And in 1938 he was accused of anti-Semitism after he gave Leni Riefenstahl, Hitler’s favorite actress, a tour of his studio.

“The Great Depression” had almost no effect on the work of Disney, money only became more. In 1954, the Disney Company began to produce and television programs, becoming one of the pioneers of first black and white, and then color television in the United States.

In 1953 Disney managed to persuade 17 families to sell him land 50 kilometers south of Los Angeles, and July 17, 1955 was the grand opening of “Disneyland”, its own fairy-tale kingdom, completely original, and unlike anything else, laid on 4 basic principles:

• restore the magical realm of Disney’s cartoons;
• add a variety of tricks;
• exciting rides;
• and a fun theme park for the whole family.

Special attention was paid to safety, courtesy, and cleanliness. It cost $17 million to build, but the entire investment has paid for itself tenfold. Over 200 million people visited the park in the first 25 years of its existence. In 1983 “Disneyland” will appear in Tokyo, and in 1992 – in Paris. The next serious project was the California Institute of the Arts, founded by Disney in 1961, where they studied music, painting, theater, sculpture, cinematography, fashion.

And on December 15, 1966, Walt Disney died of lung cancer, leaving unfulfilled ideas and “city of the future” and “university for creative youth”.

He left his successors many projects and ideas, and their gradual realization allowed the company to keep the leading place in the world entertainment industry won during the founder’s lifetime for another 20 years without any problems!

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Early years and the beginning of his career

Tim Burton was born on August 25, 1958, in Berkeley, California. He began his career in animation at Walt Disney Studios, where he worked as an artist and animator, but his style, characterized by its darkness and surrealism, did not always match what was commonly associated with Disney. In the late 1980s, Burton left Disney to pursue his own projects, many of which had elements of animation and included a dark, magical atmosphere.

The Nightmare Before Christmas (1993)

One of Tim Burton’s most famous animation projects was The Nightmare Before Christmas (1993). It is a stop-motion movie created by Laika Studios and with Burton as producer and co-writer of the idea. Although Burton himself was not a director, his influence on the project cannot be overemphasized. The movie was directed by Genndy Tartakovsky, but Burton’s visual style and concept permeated every frame.

“The Nightmare Before Christmas” tells the story of Jack Skellington, the king of Halloween City, who decides to take over Christmas. The dark but charming character Jack, his weird and wonderful companions, and the magical atmosphere created through the animation process made this movie iconic. Burton used elements of traditional animation style combined with a unique aesthetic, which gives the film a very special atmosphere. The eerie and magical elements, such as unusual characters and eerie landscapes, were a perfect fit with the movie’s theme of finding oneself and accepting one’s place in the world.

Frankenweenie (2012)

Another important animated work by Burton was Frankenweenie (2012), which was done in stop-motion. This film, reworked from a 1984 short animated project, is a tribute to the classic Frankenstein story, but with the addition of Burton’s typical humor and tragedy.

Frankenweenie tells the story of a young boy, Victor, who decides to resurrect his dead pet. It is not only a story about coming back to life, but also an exploration of the boundaries between love and science, life and death. Burton’s style here is evident in the combination of dark magic and the comical in dealing with strange, awkward characters. The film utilizes expressive traits common to all of Burton’s animated works, making it visually and emotionally compelling.

Dark magic in animation

What unites these two films and many of Tim Burton’s other works is the elements of dark magic inherent in his style. He often addresses themes of death, loss, and loneliness, but does so in such a way that the viewer doesn’t feel heavy-handed – rather, these themes are presented through elements of magic and fantasy. The use of animation gives Burton special opportunities to create these magical worlds where anything is possible, and where even the scariest moments take on an air of mystery and enchantment.

In Burton’s animated films, animation itself becomes a form of magic. Each frame is a work of art, in which every detail is carefully thought out, whether it is a gloomy city or bizarre characters. Stop-motion animation allows for textures and movement that are difficult to achieve with other methods. This gives Burton the ability to create unique worlds that are impossible to convey in conventional movies.

Influence on the industry

Burton has had a significant impact on animation, especially in the field of stop-motion. His work has inspired a generation of animators and filmmakers. The influence of his style is felt in many modern animation projects, such as ParaNorman (2012) or Corps Bride (2005). Burton’s dark but magical atmosphere has become a benchmark for animated films that blur the boundaries between reality and fantasy.

Conclusion

Tim Burton is not only a director, but also a true artist whose influence on animation cannot be overestimated. His ability to create dark but surprisingly enchanting worlds through stop-motion animation makes his work important to the history of cinema. Burton uses animation not only as a way to tell a story, but also as a means of expressing his ideas about life, death, love and loneliness. His animated films are dark magic that not only mesmerizes but also makes you think.

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In 1939, 24-year-old Bob Kane was looking for a job. In those days, the young (and, according to many, rather mediocre) artist would take on anything he could get his hands on, such as drawing stories about Peter the puppy. One day, National Comics editor Vin Sullivan mentioned that Superman was breaking records and needed a new costumed hero for an anthology of Detective Comics stories. Kane immediately set to work. He naturally took Superman as his model. Bob also had in mind Zorro and Bat-man, a killer from a popular movie.

The new hero – Bat-man – wore red tights, a small black domino mask and had rigid wings (Leonardo da Vinci’s ornithopter, can you imagine?). Kane showed the sketches to author Bill Finger, with whom he’d collaborated before. He advised to change the color of the tights to gray, dominoes replaced by a fully closed mask with pointed ears, add gloves, and instead of wings to give the hero a stylish cape.

Batman in his big red sedan (!) made his comic book debut in May 1939 in Detective Comics #27. The story’s plot was penned by Bill Finger, but the credits listed only Bob Kane. The fact is that Finger was a salaried employee of National Comics and Kane was a contract employee. At the time, many magazines and newspapers only listed the name of the artist who drew the comic. But Finger’s role in the creation of Batman was too big (hell, he even came up with the name Bruce Wayne), and of course he deserved to be recognized as the author. Alas, that didn’t happen. Finger didn’t know how to stand up for himself. He was not particularly respected in the publishing house because he often missed deadlines and was considered non-committal. Not wanting to stir up a scandal, Finger did not argue over Batman. He died poor and unknown.

Bob Kane, on the other hand, had the makings of a businessman. He hammered out an excellent 20-year contract guaranteeing a good income and his name being mentioned in all Batman products. Kane single-handedly negotiated with National Comics (soon, on the heels of the success of Detective Comics, the publisher would change its sign to DC Comics), single-handedly introduced the new hero, and bargained the important phrase “Batman created by” only for himself – in exchange for the rights to Batman.

Bob Kane continued to work on the Dark Knight stories. However, he himself drew little, because he knew very well that it is not too good at it (Kane is also known for the fact that shamelessly redrew poses from movie posters and other comic books).

The contract obliged Kane to produce Batman stories, and Bob found a way out – put the work on the shoulders of hired assistants. For decades, artists worked anonymously for Kane (the comics themselves included his name). For example, from 1946 to 1953 Batman was drawn by Lew Schwartz, and from 1953 to 1967 – Sheldon Moldoff. In total, Kane had no less than six “helpers”.

In the 60’s Bob tried his hand at animation and television. Later he began to exhibit in galleries (some of the pictures were again painted by other artists). The last years of his life, especially after Tim Burton’s “Batman” came out, Kane just rested on his laurels. He died on November 3, 1998.

I am in no way trying to diminish the merits of Bob Kane. He really did do a lot for his character. The Batmobile, the gadget belt, Batman’s cave, many of the Dark Knight’s famous adversaries, including the Joker, Two-Face, and Catwoman – Kane had a hand in all of it. And yet I wouldn’t call him a man of crystal honesty or infinitely decent. However, you know history loves a winner and forgives them.

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Early Years

John Lasseter was born on January 12, 1957 in Hollyood Hills, California. Already from childhood, he was interested in animation and cartoons, which was fostered by his fascination with the works of Walt Disney and classic animated films. After high school, he enrolled at the California Institute of the Arts (CalArts) where he met future colleagues such as Brad Bird and Andrew Stanton and began to develop his skills in animation.

Working at Disney

In 1979, Lasseter began working at Walt Disney Animation Studios, where he contributed to films such as The Fox and the Hound (1981) and The Black Cauldron (1985). Although these films were not as successful as their predecessors, they played an important role in Lasseter’s development as an animator.

Lasseter’s most important moment, however, was his introduction to computer animation. In the early 1980s, as computer graphics began to develop, Lasseter became interested in its potential for creating animation. His first significant work in this field was the short film Luxo Jr. (1986), which was the first animated film made using computer graphics.

Pixar and the beginning of the revolution

In 1986, John Lasseter became one of the first employees of Pixar, the company founded by Steve Jobs. At the time, Pixar was still a small company developing computer technology for animation. But Lasseter, being a passionate advocate for the use of new technology in movies, helped turn Pixar into a leader in computer animation.

In 1995, Lasseter directed Pixar’s first feature-length animated film, Toy Story. This movie was a true revolution in the world of animation, as it was the first feature-length animated film created entirely using computer graphics. Toy Story was not only commercially successful, but also critically acclaimed, becoming a cult work.

Further successes

Following the success of Toy Story, John Lasseter continued to work with Pixar, directing such hits as A Bug’s Life (1998), Toy Story 2 (1999), Monsters, Inc. (2001), Finding Nemo (2003), The Incredibles (2004) and many others. Each new movie confirmed his genius as a filmmaker and his ability to tell touching yet profound stories that captivate children and adults alike.

Special attention should be paid to The Incredibles, which was a breakthrough in the superhero movie genre and one of Pixar’s most successful projects. Lasseter, with his unique talent for combining innovative technology and human stories, became not only the director but also the architect of the studio’s success.

Lasseter’s legacy

John Lasseter continued to work at Pixar even after the company was acquired by Disney in 2006. He remained as chief creative officer of Pixar and Disney Animation Studios. In 2018, Lasseter left the company in the wake of sexual harassment allegations, but his contributions to animation remain undeniable.

Lasseter not only changed the rules of the game in the animation industry, but also had a huge impact on filmmaking as a whole. He made computer animation an art form and Pixar a symbol of quality, innovation and emotion. His work remains a benchmark in the world of animation, and John Lasseter’s legacy continues to inspire a new generation of animators and directors.

The story of John Lasseter is the story of a man who was not afraid to break tradition and move forward, changing the world of cinema.

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“Marvel means “wonder.” Marvel Comics was founded in 1939 by Palp magazine publisher Martin Goodman as a group of subsidiaries under the common name Timely Comics.

The first publication was a comic book in which the Torch Man, the android superhero and the mutant antihero Nemore the Submariner appeared. The comic was a smash hit with readers!

Writer and artist Joe Simon, the company’s first editor, joined forces with future comic book industry legend Jack Kirby to create the first patriotic superhero, Captain America. He first appeared in the comic book in March 1941 and became a major sales hit.

Other Timely characters, were not as popular, but some of them such as; Yula, Miss America, Destroyer, Vinge and Angel continue to appear in modern comic books. By the 40s, Martin Goodman’s business had grown and he needed assistants. Goodman hired his wife’s cousin’s son, 17-year-old Stanley Lieber, who would become internationally popular 20 years later as Stan Lee.

In the post-war years, comic book sales dropped significantly as the superhuman image popularized during the war and Great Depression went out of fashion. And in the 50’s “Timely” changed genre to westerns, horror, crime, love and spy novels and even medieval adventures popular at the time. Attempts to revive superhero comics featuring the trio of Torch Man, Submariner and Captain America were not successful. In the late 50’s, Goodman on the wave of success of science fiction films launched a new direction “Amazing Worlds”, “Fantasy World”, “Amazing Histories”, “Journey into Mystery”. But space fantasy comics are not popular and become second-rate monster comics. In the 1960s, editor and writer Stan Lee, along with artist Jack Kirby, create “Fantastic Four.”

“Superheroes in the real world”, they fight with each other, experience everyday hardships and it was this approach that was the reason for the success of this comic and all subsequent ones based on it. Marvel began creating comics about other super and anti-heroes such as Hulk, Spider-Man, Thor, Ant-Man, Iron Man, X-Men, Daredevil and memorable villains such as Dr. Octopus, Venom, Dr. Doom, Galactus, Magneto, Green Goblin.

Most of the characters in Marvel Comics live in one fictional universe called Earth-616. Marvel Comics paid special attention to revealing the characters of superheroes. They suffer from internal problems, they are lonely more than ordinary people. And some Marvel heroes are more like villains and monsters. At the time, this unconventional approach revolutionized comic books. Most of the heroes created at that time belong to the authorship of Stan Lee and his name becomes one of the most famous in the comic book industry. Thanks to artist Jack Kirby, characters such as the Silver Surfer, the Watchers, Ego the Living Planet, and Dr. Strange appear. Together they created what is known as the “Marvel method”, which consists of the author coming up with the story, the artist drawing it and thinking out the fine details of the plot, dialogues and even characters, and then the author completes the process with the final polishing of the plot and dialogues.

In 1970, Marvel conquered the British public by creating a comic book about Captain Britain, which was released first in the UK and later in America.

In 1972, Goodman retired from publishing, replaced by Stan Lee. The new editors returned to the old fantasy genres: Conon-Warwar, Red Sonja, the horror Tomb of Dracula, satire and science fiction. In the mid-70s, in addition to newsstands, Marvel began to venture into comic book stores. Hits were the reincarnated X-Men series and a comic book about the urban crime fighter Daredevil.

In the 80’s, new Marvel Comics editor Jim Shooter relaunched the “Mighty Thor” comic book and made it a bestseller. In the early 90’s Marvel launching the successful Spider-man 2099 comic book series made a lot of money and reader recognition, but in the middle of the decade the industry hit a slump and in 1996 Marvel took advantage of Chapter 11 of the U.S. Bankruptcy Code. This included the departure of seven of the most successful, award-winning artists Todd McFarlane known for his work on Spider-Man, Jim Lee (X-Men), Max Silvestri (Wolverine), Erik Larsen (The Amazing Spider-Man), Jim Valentino (Guardians of the Galaxy), and William Partacio. They left Marvel and started their own successful company, Image Comics. With the arrival of a new millennium, Marvel Comics avoided bankruptcy and began trying to diversify its offerings. It launched new comic book lines, “MAX” for older readers and “Marvel Age” designed conversely for younger readers. By 2010, while Marvel remained a major comic book publisher, despite a significant decline in the industry compared to previous decades, several characters were changed to become franchises. The highest-grossing of which: the X-Men film series, which began in 2000, and the Spider-Man trilogy, which came out in 2002.

In 2007, the company launched an online digital archive of over 2,500 comic books available for viewing, monthly or yearly subscription. In 2009, Marvel Comics celebrated its 70th anniversary with a single-series Marvel Mystery Comics, the 70th Anniversary Special, and other variations of special issues.

In 2009, after a decade of negotiations between the companies, The Walt Disney Company struck a deal to acquire Marvel Entertainment for $4 billion dollars. The deal was favorable to both companies. Disney had found it increasingly difficult over the years to create and promote new characters, while Marvel lacked the investment to promote existing ones. The head of the Walt Disney Company Robert Eiger called the deal a great opportunity for the studio to make billions of dollars, turning 5,000 characters from the Marvel library into characters for movies, video games, toys and, of course, comic books.

Thanks to Disney, Marvel characters have become more famous outside of America because of the studio’s incredible distribution potential. But it’s only because of Stan Lee that we read, watch and know these Marvel superheroes.

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Early years and path to animation

Richard Williams was born in 1933 in the United Kingdom. He began his career in animation in the 1950s, when work in animation was mostly concerned with traditional drawing methods. Williams worked for various studios throughout his life, but his passion for improving animation eventually led him to create his own studio, Williams Animation.

“Who Framed Roger Rabbit?”

One of Williams’ most notable accomplishments was his involvement in the creation of the legendary animated series and feature film “Who Framed Roger Rabbit?” (1988). This was the first movie that seamlessly combined the world of live action and animation, and the work on the picture itself was a true milestone in the development of technology in cinema.

Inspired by the concept of “live-action cartoons,” Williams used advanced animation techniques to create characters that interacted with real actors and environments. This required incredible precision and cohesion between animators, directors, and actors, making the work incredibly difficult and time-consuming. However, the result was phenomenal, and the picture was later recognized as one of the most significant in the history of animated cinema.

Perfectionism and approach to animation

One of the most outstanding features of Richard Williams’ work was his perfectionism. He always strove for the highest quality, spent more time and effort on projects than was customary in the industry, and never settled for a mediocre result. Williams believed that every frame of animation should be executed with the utmost attention to detail and in-depth character development.

His work on Roger Rabbit demonstrated a new level of realism and dynamism in animation. He was one of the first to add complex elements of movement and emotional expression, which greatly improved the quality of animation and set new standards for studios and artists.

Influence on the future generation of animators

In addition to his work on high-profile projects, Richard Williams is also the author of one of the most famous books on animation, The Animator’s Survival Kit. This book, which has become a desk reference for many animators, reveals the basic principles and techniques that Williams used in his work. It helps you understand how to make animation more lively, expressive and appealing to viewers.

Williams also influenced many future animators, including those who worked on projects such as SpongeBob SquarePants, Disney’s Fairies, and Gravity Falls. His approach to animation was so significant that it influenced not only the technological aspects, but also the philosophy of animation as a whole.

Conclusion

Richard Williams didn’t just work in the animation industry – he changed it. His uncompromising approach to quality, attention to detail and dedication to his work made him one of the greatest animators of all time. Thanks to his work, we can enjoy more dynamic, vibrant and emotionally rich animation. His legacy lives on not only in his great works, but also in the generations of animators who continue to follow his example and strive for excellence.

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At the beginning of his career, the future maestro not only composed short stories, but also drew them himself. Alan Moore’s first characters were animals – politically active mouse Anon I. Mouse, panda St. Sacras and ironic cat Maxwell.

But Alan soon realized his skills as an artist were lacking and focused on subjects. He wrote a story for the 2000AD anthology about Judge Dredd, a major British comic book hero. It wasn’t accepted, but the young author was noticed. After stretching himself with 4-5 page short stories on Doctor Who and dystopian sketches of the future in the Future Shocks series of strips, Moore soon began receiving more serious job offers, including from 2000AD’s main competitors, Marvel UK and the publishers of the Warrior anthology. It was at Warrior that the monthly series Marvelman (later renamed Miracleman) and “V for Vendetta” began to appear, turning Moore from promising newcomer to star.

Moore’s fame spread across the ocean. DC Comics invited him to write the script for the poorly selling Swamp Thing series. As he had done with Miracleman before, Moore started the series from scratch, setting up an event in the critter’s life that turned his world upside down. The stories were so compelling that the series not only didn’t lose old readers (of which there weren’t many), but gained new fans.

In the Swamp Thing comics, occult detective John Constantine made his first appearance. Although outwardly he resembled the singer Sting, in fact it was Moore himself – a cynical and distrustful Englishman, a native of the working class. The character was beloved by readers and was soon given a long-running solo series.

Skillfully juggling the ideas of other authors, Moore turned other people’s universes into his own. The logical continuation was the publication of comics about their own worlds in the DC imprint – Vertigo. That’s how the dystopia “V for Vendetta” found new life, and that’s how “Watchmen” was born.

“Vendetta” came about as a reflection on what a Cold War world could come to with reactionaries in power – Reagan in the US and Thatcher in Britain. In the story, after a nuclear war in England, a fascist party usurps power. It seeks to unite society with a single idea and purge minorities, who are sent to concentration camps. A former prisoner of one of them, wearing a smiling Guy Fawkes mask, becomes an anarchy incarnate: he blows up government buildings, hunts the party leadership and successfully opposes the system.

In 2006, when the comic was adapted, the mask of the main character became a symbol of revolutions and the Anonumous movement. It is recognized even by those who have not seen the comic book or the film. Moore approves of this as a counterbalance to what he believes the authorities have learned from the comic book.

Following Vendetta, Moore began work on the most detailed superhero epic ever – Guardians. Unlike Miracleman, where superheroes appear as Nietzschean superhumans, the characters of “Guardians” are as real as possible. They are trying to find their place in a society living in constant fear of nuclear apocalypse.

The story begins with the shocking murder of a superhero and spirals downward, plunging the reader deeper and deeper into the conspiracy and constantly reminding them of the end of the world. The comic was groundbreaking in everything from the character development to the appendices to each installment. The recurring question “Who guards against the guardians?” (variant – “Who guards the keepers?”) addresses readers, urging them to think: why do they admire masked vigilantes who put themselves above the law? Who gave the heroes the right to do so? Do they make the world a better place? The characters’ opinions varied, leaving readers to decide for themselves.

In 1987, Alan proposed an even bolder scenario: “Twilight of the Superheroes”, the finale of the entire DC universe. According to Moore’s plan, in the future the world is ruled by superhero clans – the House of Steel (the union of Superman and Wonder Woman), the House of Thunder (the family of Captain Marvel) and others. The dynastic alliance of the strongest houses carries a threat to the balance, and the wedding is tried to prevent the weaker heroes – Constantine and Batman. DC didn’t give the okay to develop this exciting idea, as it suggested the ultimate dystopia and the end of most of the lucrative series. Then Moore realized that he was not on his way with corporations, stamping comics and movies about the same heroes year after year.

Having ruined relations with DC, in the 1990s Alan decided to quit and with superheroes, and with the work for large publishers. He kept coming back to the former, but he was stubborn about the latter. Moore decided to see if he could come up with the stories that the brutal “big guns and metal” era of comics demanded. He wrote stories for several issues of Spidey and Supreme, and had the distinct pleasure of working on the Tom Strong series, a cross between the Tarzan novels and the Superman comics of the 1960s.

Alan Moore touched upon the theme of changing eras in “The League of Extraordinary Gentlemen”. The series brings together the heroes of Stoker, Haggard, Verne, Conan Doyle and H.G. Wells. Moore grew up on books by these authors, and he is pleased that the comic book has made many people want to read them. Another great series Moore published at the turn of the millennium is Top Ten, a story full of references about a police station in a city where everyone has superpowers.

Moore’s fascination with the occult and magic is reflected in the comic strip Prometheus, where the ancient goddess of imagination finds a new avatar in the form of student Sophie. The colorful psychedelic design of the comic made it look like a grimoire. And lately, Moore has been busy reimagining Howard Lovecraft’s legacy. Alan has rid the world of Cthulhu of the racist overtones that characterized the early 20th century, and introduced the theme of sex. The three sequential stories The Courtyard, Neonomicon, and Providence take place in different times and feature different characters, but all are mysterious, shocking, and creepy in their own way.

Moore’s comics have always attracted the attention of Hollywood. Five of them have been screened: “From Hell”, ‘Constantine’ (twice), ‘The League of Extraordinary Gentlemen’, ‘V for Vendetta’, ‘Watchmen’. But none of the screen adaptations Moore does not recognize, does not allow his name to be mentioned in the credits and does not even receive royalties. And as a magician, he even cursed them. Why? Crazy whim, recklessness?

The fact is that Alan refuses to see his life’s work as “raw material” for movies. Moore considers comics an independent form of art, not always combined with the movie. And looking at the film adaptations, one can agree with him. “From Hell” and ‘The League of Extraordinary Gentlemen’ take from the comics only a few plot lines, changing and discarding the rest, and as movies are simply weak. Both “Constantine” and at all free fantasy, taking from the original only characters. The screenwriters of “V for Vendetta”, then the Wachowski brothers, treated the source material more carefully, but they also changed key elements of the comic book. Thus, the movie never mentions fascism and anarchy.

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Early years and early career

Hayao Miyazaki was born on January 5, 1941 in Tokyo. He was one of three children in a family where his father worked in the aviation industry. Miyazaki was always fascinated by drawing and animation, and he eventually went to university where he studied political science, but his love for animation proved stronger. In 1963, he joined Toei Animation, where he created his first animated works, and in 1979 he began the project that would become crucial to him: the animated series The Castle of Cagliostro (The Castle of Cagliostro), which brought him popularity as a director and animator.

Studio Ghibli and global fame

In 1985, Miyazaki and fellow animator Isao Takahata founded Studio Ghibli, which would come to symbolize Japanese animation. The studio quickly gained recognition for its exceptional films. The first significant project was Nausikaya of the Valley of the Wind (1984), which became an iconic work and demonstrated Miyazaki’s unique ability to create complex and multifaceted worlds. This film, which combined environmental themes with adventure and philosophy, became the basis for further work.

The studio’s next masterpieces were such films as “Princess Mononoke” (1997), “Gone with the Ghosts” (2001) and “The Walking Castle” (2004), each of which combined deep ideas, unique animation and a stunning world. “Ghost Gone” became the most successful animated film in Japanese film history at the time and won the Academy Award for Best Animated Feature in 2003.

Characteristics of creativity

What makes Miyazaki’s films so special? First, it’s the magic and amazing detail of the world. Miyazaki is known for creating deeply detailed and unique worlds that merge reality and fantasy. He creates stories that combine real human experiences, philosophy of life, and miracles, achieving harmony between the two.

Secondly, Miyazaki has always been committed to themes related to nature and the ecosystem. In films such as Nausikaya of the Valley of the Wind and Princess Mononoke, he addresses issues of pollution, ecology, and man’s relationship to the world around him. However, despite the seriousness of the themes, the films always remain optimistic, full of hope and faith in goodness.

Third, Miyazaki pays attention to complex characters. He often portrays characters who confront internal and external conflicts, and who evolve over the course of the movie. Female characters tend to play a key role in his works, and they are often strong, independent individuals, which also reflects Miyazaki’s desire to show the strength and dignity of women.

Personality and philosophy

Outside of the film industry, Hayao Miyazaki is known for his humility and unique philosophy of life. He is known for his work ethic, honesty, and striving for perfection in every frame. Despite his worldwide fame, Miyazaki has always remained quite reserved and refuses to attend most public events. His love of nature and animals, as well as a deep respect for the art and craft of animation are the main tenets of his life.

Miyazaki’s legacy

With each film, Hayao Miyazaki created not just animated pictures, but works of art that touched the hearts of viewers, making them ponder life, love, nature and the meaning of existence. His influence on Japanese animation and world cinema cannot be overestimated. Miyazaki became a symbol of animation as an art and an example for generations of animators and audiences around the world.

Now, despite his age and his determination to retire (which he has already postponed several times), Hayao Miyazaki continues to work on new projects. His style, his worlds, his messages all continue to inspire and delight animation fans around the world.

Miyazaki created not only incredible films, but also worlds where you can forget about all the difficulties of life and just believe in miracles.

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Early years and the formation of his creative path

Osamu Tezuka was born on November 3, 1928, in Osaka. From an early age, he showed a deep interest in drawing and, inspired by Western cartoons, especially the creations of Disney Studios, he began to seek out new art forms. It was this early experience that shaped his unique style, in which he combined dynamic composition, expressive characters and cinematic storytelling techniques.

“Astroboy”: the birth of a legend

In 1952, the world learned about “Astroboy” (original title – “Tetsuwan Atom”). This manga became a real cultural phenomenon: the story of a robot with human qualities won the hearts of millions of readers. “Astroboy” not only laid the foundations of the genre, but also opened a new era in Japanese pop culture, initiating a modern understanding of manga and animation.

Artistic innovation and unique style

Tezuka was a pioneer in the use of cinematic techniques in the comic book format. His works were characterized by:

• Dynamic frame composition

Tezuka created the effect of movement and depth by using unconventional angles and close-ups.

• Expressive facial expressions and emotions of the characters

This allowed complex emotional states and dramatic moments to be conveyed.

• Philosophical overtones

Many of his works dealt with important themes, from moral issues to existential musings, making his manga relevant and profound.

Legacy and cultural impact

During his career, Tezuka created not only “Astroboy” but also other significant works such as “Kimba, the White Lion,” “Black Jack,” “Phoenix,” and “Buddha.” However, it was “Astroboy” that brought him worldwide recognition and cemented his title as the father of Japanese manga. His innovative ideas and creative approach have had a lasting impact on the entire manga and animation industry, inspiring subsequent generations of artists and directors. Academic studies, exhibitions, and numerous publications attest to the significance of his contributions to world culture.

Conclusion

Osamu Tezuka remains a symbol of Japan’s creative innovation and cultural heritage. His work, beginning with Astroboy, set the standard for modern manga and animation, and the influence of his style is still felt today. Tezuka not only changed the face of Japanese pop culture, but also gave the world a unique legacy that continues to inspire millions of people around the world.

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Art Nouveau Influence

Sterrett’s work shows a clear influence of the Art Nouveau style, which was popular in the late nineteenth and early twentieth century. This is evident in the curved lines, organic shapes and decorative elements that give her illustrations elegance and sophistication. Her compositions often include swirls of vines, flowers, and subtle patterns, giving the works a natural and flowing feel.

Fairy Tale Motifs and Folklore

Sterrett has worked with folkloric themes, depicting scenes from the Arabian Nights, myths and European fairy tales. This created a magical atmosphere where reality and fantasy intertwined. One of her most famous works is the series of illustrations for the book “1001 Nights”, where she perfectly captured the mystical spirit of the Orient.

Detail and textures

One of the key features of Sterrett’s work was her attention to fine detail. She skillfully used textures and intricate patterns to create rich and layered compositions. These elements add depth to her works, making them visually appealing and multifaceted. Her images often feature small decorative elements such as patterns on characters’ clothing, textures in the landscape, and fine details in the environment.

Color Palette

Sterrett preferred to use soft, pastel shades that gave her illustrations a dreamy and gentle atmosphere. Colors were carefully chosen to emphasize the atmosphere of a fairy tale or myth. At the same time, she used bright accents that focused attention on the main elements of the image.

Harmony with the text

Virginia Sterrett’s illustrations not only complemented the text, but blended seamlessly with it. She took great care to ensure that her images enhanced and emphasized the emotions conveyed in the texts, be it magic, anxiety, or joy. This made her work not only visually appealing but also narratively meaningful.

Figurative imagery

Her illustrations often feature beautiful, graceful figures – girls, mythological creatures and fantasy heroes. Their poses often resembled dance or movement, adding dynamism and emotional expression to the illustrations. Sterrett also used many mythological images such as dragons, fairies, and spirits, which added a magical element to her work.

Virginia Frances Sterrett’s work remains a benchmark for an illustration style that combines both technical skill and emotional depth. Her illustrations continue to inspire artists and audiences, and their influence is felt in contemporary art.

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