Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesBehind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesKeita Takahashi sent over a bunch of adorable To a T storyboard sketches following our chat at GDC 2025. Take a look at a handful of formative sketches from the Wattam and Katamari creator.Chris Kerr, Senior Editor, NewsMay 28, 202516 SlidesImage via Annapurna To a T, the latest whimsical video game from Katamari Damacy and Wattam creator Keita Takahashi, is out today.Inevitably, it's as weird and wonderful as you'd expect. An offbeat adventure about a 13-year-old teenager, appropriately called Teen, whose body happens to be stuck in a permanent T-pose.Over the course of an episodic story, players must help Teen navigate the unique challenges of their daily life alongside a fluffy companion, a host of anthropomorphic animals (including a scene-stealing singing giraffe named Giraffe), and other memorable characters.During a recent interview with Game Developer at GDC 2025, Takahashi explained he envisioned To a T as a "sort of sitcom" and set about storyboarding the game's opening scenes in a bid to communicate his vision for the project.Intrigued by how the game looked during those formative stages, we asked Takahashi whether he'd be willing to send a few of those storyboards careening our way. Thankfully, he obliged, and now we're able to share those charming sketches with you.You can see 15 of those early storyboards in the slideshow above.Then, you can read our deliriously wide-ranging interview with Takahashi to learn more about To a T and the inner-workings of one of the industry's most eclectic designers.About the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Senior Animator – Temp (SFD / Cinematics)Blizzard EntertainmentSanta Monica California 90405 United States of America2 hours agoApplyTeam Name:CinematicsJob Title:Senior Animator – Temp (SFD / Cinematics)Requisition ID:R025214Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Activision Blizzard, which was acquired by Microsoft (NASDAQ: MSFT), is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401(k) with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting https://www.benefitsforeveryworld.com/ .In the U.S., the standard base pay range for this role is $38.85 - $71.83 Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Senior Animator – Temp (SFD / Cinematics)Blizzard EntertainmentTrenton New Jersey 08601 United States of America28 minutes agoApplyTeam Name:CinematicsJob Title:Senior Animator – Temp (SFD / Cinematics)Requisition ID:R025216Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Activision Blizzard, which was acquired by Microsoft (NASDAQ: MSFT), is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401(k) with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting https://www.benefitsforeveryworld.com/ .In the U.S., the standard base pay range for this role is $38.85 - $71.83 Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Anyone who has seen the first three movies in theFear Street series knows that they’re indebted to horror of the past. Fear Street: 1994 borrowed from Scream‘s self-awareness. Fear Street: 1978 had a masked killer stalking a campground, just like Friday the 13th: Part II. The folk horror films from the 1960s and ’70s provided a model for Fear Street: 1666. Fear Street: Prom Queen breaks from the original trilogy though by telling a standalone story. For Prom Queen writer and director Matt Palmer, that division brings to mind another horror forerunner. “I keep thinking about Halloween III: The Season of the Witch, which I quite like even though it didn’t go well with audiences in the 1980s,” Palmer tells Den of Geek. Halloween III famously ditched Michael Myers for a new story about cursed masks and Celtic witches. It was an attempt to turn the series into an anthology instead of the continuing adventures of a silent killer. “I like that idea of a Halloween franchise, a world where you could just tell vastly different stories form different subgenres. I think there’s potential for that to happen in Fear Street.” The latest entry in the movie adaptations of author R.L. Stine‘s teen novels, Prom Queen follows teen Lori Granger (India Fowler), who becomes an unlikely prom queen favorite when a masked killer starts offing the competition. In addition to young stars such as Fowler, Suzanna Son, and Ariana Greenblatt, Prom Queen also features an impressive adult cast, which includes Lili Taylor, Katherine Waterston, and 2000s mainstay Chris Klein. But the most surprising name in the credits is Palmer’s, and not just because he takes the place of Leigh Janiak, who directed the first three films. Palmer’s debut Calibre focused on two Scottish young adults whose friendship is tested when a hunting trip goes horribly wrong. It’s rural and thoughtful, and a million miles from the 1980s American setting of Prom Queen. But to Palmer, the two films both feel complementary. “I guess there’s two of me,” he says, thoughtfully. “There’s one side of me that’s into heavier movies and quite intense thrillers in the Deliverance mold. But horror was my first love in terms of genre. I do a festival at an all-night horror event in the UK once a year. We show five horror movies from the ’70s and ’80s, all the way through the night.” That experience makes Prom Queen “a dream project” for Palmer, “making a movie that could potentially fit in with the ’80s movies I show at my event.” While there’s plenty of ’80s influence in Prom Queen, Palmer also adds elements of giallo, the lurid Italian murder mysteries that were precursors to the American slashers, especially with the look of the central masked killer. “I really liked the black leather raincoat and the black gloves in gialli, so I started from that,” says Palmer of his process of designing the killer. “Then our concept artist said the killer can’t be all black because they’ll get lost in the dark. So we started looking at a yellow coat but that felt a bit too much like Alice Sweet Alice—which was a visual influence on the movie. We looked at blue and then the concept artist announced red on red, and we were like ‘boom! Yeah!'” Palmer brought a similar level of erudition to designing what many would consider the most important part of a slasher: the over the top kills. Join our mailing list Get the best of Den of Geek delivered right to your inbox! “One of the things I’ve noticed about modern slashers is that they sometimes don’t have wide shots in the kill scenes. I think that’s a mistake because I want the audience to understand the space where the kill is going to happen, and then you can start cutting into closer shots. Because then they can compute from that wide shot where people are. It makes the scene more frightening because you know where the dark spots are and you know how big the room is.” As academic as that approach may sound, Palmer’s careful to keep focused on the main thing, the blood and guts that audiences expect. “We shot all of the kill scenes in one day,” Plamer reveals. “Some of them have a lot of shots, so they were heavily storyboarded,” meaning that Palmer and his team made comic book style drawings of every shot in the sequence, so they could shoot them more efficiently. “There was a funny moment when we were storyboarding one of our kills and we got really excited about the lighting, because it’s somebody moving through different planes of lighting and you can see certain things. The storyboard artists and the director of photography [Márk Gyõri] started talking about this mist and the light, and it started turning into a real art film geek conversation, all about the mystery. Then the storyboard artist turns to me and asks, ‘so what happens next?'” and I said, “and then all her guts fall out.’ Lets’s not forget what kind of movie we were really making.” While that might sound like he’s committed to making a lean and mean slasher, and he did emphasize the fact that he wanted the film to come in under 90 minutes, Palmer does find surprising moments of stillness in Prom Queen. “I didn’t realize this until after Calibre, but I give scenes a bit of breathing space so you can be with the characters and go a bit deeper with them. But then in between scenes, the escalation of plot is quite steep.” He adds, “I prefer movies that are a bit more sedately paced, but sometimes I’m watching a movie from the ’80s and wondering, ‘Why are we holding here? Cut, cut, cut! I’ve got the information, so move on!’ People assimilate information faster now, so I’m trying to find that sweet spot where you can still have that breathing room to go a little bit deeper with the characters, but also be aware that people need things these days to move a bit quicker.” Palmer’s awareness of both classic horror and modern audiences make him a perfect choice for the Fear Street franchise, which has a huge audience among early teens, newcomers to the genre. “I feel like the characters should be youngsters and the focus should be on the younger characters,” Palmer explains. “I went to my first all-night horror event when I was 16. I was underage and it was the most exciting thing, and I think that’s the genesis of my process. I asked myself what kind of movie I would have wanted to see when I was 15 and tried to go back and capture a bit of that magic.” For the other big audience of Fear Street, Palmer had to go beyond himself and get some outside help. “I think there’s also a skew towards the female in Fear Street’s following, so we all wanted to have a female-led story. That was obviously a challenge for me because, you know, I’m male. Fortunately, I had really strong female producers on this to guide me if I went astray on any of the characterizations.” After seeing Prom Queen, most will agree that Palmer didn’t go astray in any regard, which raises some questions. Prom Queen may be a one-off, but does Palmer have more to say within the world of the series? “Well, I’ve had my dream project in the franchise, so I don’t want to be greedy. But If I was going to do another one, it would probably take place a couple of years later in the ’80s and be a Satanic Panic thing with ouija boards.” Palmer trails off here, not wanting to get ahead of myself. “But I’ve already had my Fear Street adventure,” he says with a smile and gesturing back to the Halloween-style anthology that he wants the franchise to become. Still, if Prom Queen hits with fans as well as the other Fear Street movies, it’s hard to imagine that we won’t Palmer making his Satanic Panic movie soon. Fear Street: Prom Queen arrives on Netflix on May 23, 2025.

Principal Narrative AnimatorActivisionSanta Monica California 90405 United States of America1 hour agoApplyJob Title:Principal Narrative AnimatorRequisition ID:R025330Job Description:Elsewhere Entertainment is looking for a Principal Narrative Animator to join the development of our next AAA title—an exciting new Narrative Driven IP.Feed your creativity while driving the development of our game’s world and story! Collaborate with our highly skilled team to build something innovative, exhilarating, and expansively entertaining.As a member of the animation department, you’ll guide the creation of memorable moments in telling an epic player driven story. You’ll also oversee the project’s cinematic pipelines, tools, and best practices, and you’ll manage your team by tasking and reviewing work, providing growth opportunities in skill and career progression, and tending to the emotional health of the team. You’ll work closely with Narrative, Content, Gameplay, and Art leads to coordinate, design, implement, and polish animation and cinematic content of the game.As a leader on the project, you’ll help take the studio and our game from great to even better—with a focus on inclusivity, mutual respect (for ourselves and our players), thoughtfulness, empathy, professionalism, and collaboration.If you’re a passionate creator and a positive, respectful collaborator who enjoys cross-department communication and creative problem-solving as a part of your workflow, we’d love to talk to you!You’ll help us by…Ensuring consistency of tone and style is depicted across the entire cinematic experience that matches the vision set by the Creative Director.Using traditional animation principles, gameplay fundamentals and motion-capture to craft high quality animations and systems.Take narrative ownership of the cinematic and dialogue presentations and pipelines, helping bring the characters, world, and story to life.Assist in the development and direction of storyboarding and animatics to develop the cinematic pipeline.Support in developing the presentation of the games dialogue, cinematic sequences, etc.Becoming proficient in using the game's proprietary animation tools.Providing constructive feedback on others’ work.Acting as a liaison to other departments, conveying the consistent cinematic & animation vision of the project.Working with directors, animators, narrative designers, cinematics designers, and campaign designers to develop the best visual storytelling practices for the game.Working with 3rd party vendors/clients to help facilitate asset creation, pre-rendered assets both for the game and media support.Mentoring the staff of cinematic animators and designers.Ensuring all tasks are completed according to given specifications and deadlines.Performing any additional cinematic responsibilities as assigned by Studio Leadership.You’re awesome because you have…13+ years of credited CG directorial experience working in either videogame cinematics or TV/film – with mocap and keyframed animation direction.A strong understanding of composition and camera language and how it helps tell our stories.One or more shipped titles as a cinematics director.Fluent in Maya.Experience with technical cinematics content (animation, camera presentation, facial animations, and conveying mood and emotions).The ability to collaborate and thrive as part of a creative team.An eagerness to work independently; are self-driven in taking ownership of tasks in a highly confidential environment.Creativity in problem solving and a positive, respectful team-first attitude.Organization methods and the capability to meet deadlines.Comfort with self-critique and accepting outside feedback.A habit of regularly playing and understanding modern video games and popular media.Bonus points for…Experience with directing cinematics and dialogue for AAA Open World Games.Credited CG Work in other media (Film, television, shorts, etc...)Experience developing both bespoke cinematic content as well as dialogue in systematic systemsExperience working with Hollywood talent and/or reputable VO recording studios and directorsMajor recognition in your field of workFamiliarity with many of the major games released in the last decadeEnjoyment of playing a variety of video game genres and titlesExperience in adjacent disciplines such as quest design, narrative design, environment art, programming, etc...Not sure you meet all the qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! At Activision, we are committed to creating a diverse and inclusive environment and strongly encourage you to apply.Our WorldAt Activision, we strive to create the most iconic brands in gaming and entertainment. We’re driven by our mission to deliver unrivaled gaming experiences for the world to enjoy, together. We are home to some of the most beloved entertainment franchises including Call of Duty®, Crash Bandicoot™, Tony Hawk’s™ Pro Skater™, and Guitar Hero®. As a leading worldwide developer, publisher and distributor of interactive entertainment and products, our “press start” is simple: delight hundreds of millions of players around the world with innovative, fun, thrilling, and engaging entertainment experiences.We’re not just looking back at our decades-long legacy; we’re forging ahead to keep advancing gameplay with some of the most popular titles and sophisticated technology in the world. We have bold ambitions to create the most inclusive company as we know our success comes from the passionate, creative, and diverse teams within our organization.We’re in the business of delivering fun and unforgettable entertainment for our player community to enjoy. And our future opportunities have never been greater — this could be your opportunity to level up.Ready to Activate Your Future?#elsewhereRewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401(k) with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting https://www.benefitsforeveryworld.com/ .In the U.S., the standard base pay range for this role is $134,000.00 - $247,900.00 Annual. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

By TREVOR HOGG Images © Solo Leveling Animation Partners. Like the protagonist Sung Jinwoo, the Solo Leveling franchise has leveled up from being a web novel created by Chugong to a webtoon to anime series with each medium expanding upon the other in world-building, character development and narrative scope. What remains at the core of the fantasy tale are portals to other dimensions that contain Magic Beasts that threaten to overtake the Earth, with the only defense being humans known as Hunters who have manifested supernatural abilities to varying degrees. At the lowest end of the power spectrum is Sung Jinwoo, but his fortunes dramatically change when a mysterious entity puts him through a series of tests that enable him to improve so much that his achievements become legendary. As part of the Emmy Awards campaign which sees the Aniplex, A-1 Pictures and Crunchyroll partnership being submitted for Outstanding Animated Program, Outstanding Individual Achievement in Animation – Character Animation (Yoshihiro Kanno) and Outstanding Individual Achievement in Animation – Character Design (Tomoko Sudo), three of the major players recently gathered in Los Angeles along with a translator to discuss the creative challenges in producing two seasons consisting of 25 episodes. Storyboard and the final animated still featuring renown S-Level Hunter Cha Hae-In, who becomes the wife of Sung Jinwoo. (Image courtesy of Atsushi Kaneko via X) “[T]he world of Solo Leveling takes place in some country in present day, so making sure that reality comes across to an audience was important for us. The original work is Korean, so Korea is the foundation. In the Japanese version that was also released as a manga, there were some slight cultural differences and adaptation. When animating this, we wanted to make sure that all of that was embraced and encapsulated. Anything from the exterior textures on buildings down to traffic rules.” —Sota Furuhashi, Producer, Aniplex Even though Shunsuke Nakashige [director] is guiding the vision of the adaptation, the nature of anime requires multiple contributors. “Personally, what I think makes anime interesting is this idea that the same person doesn’t illustrate or draw everything,” notes Sota Furuhashi, Producer at Aniplex. “That brings a lot of different textures and layers to how things are expressed. Take even one shot or scene: There will be multiple people animating this, so that gives the visual its own unique taste. This all comes together into a singular experience for audiences to enjoy. In the case of Solo Leveling, the action component is something that needs to be constantly evolving, so there is a lot of different talent that is pooled into these different scenes; that’s what adds value to the Solo Leveling experience.” Despite the fantastical elements, there has to be an element of realism to the world-building. “I want to preface this by saying I am only a proxy for the director, but the world of Solo Leveling takes place in some country in present day, so making sure that reality comes across to an audience was important for us,” Furuhashi explains. “The original work is Korean, so Korea is the foundation. In the Japanese version that was also released as a manga, there were some slight cultural differences and adaptation. When animating this, we wanted to make sure that all of that was embraced and encapsulated. Anything from the exterior textures on buildings down to traffic rules. We wanted to express what happens in people’s daily lives because that creates a lot of reality in terms of world-building.” Storyboards for the fight between Sung Jinwoo and Blue Venom-Fanged Kasaka which emphasize the size and scale of the Magic Beast. (Image courtesy of Atsushi Kaneko via X) “When we first saw Solo Leveling, which is quite serious and has a lot of violence, and understood the intent, the decision was made not to run away from [the violence] and to make sure it was embraced because it showed how serious the creators were in wanting to push the envelope.” —Kanako Takahashi, Producer, Crunchyroll A combination of 2D and 3D animation techniques were utilized. “We wanted to use 2D hand-drawn animation as the foundation, but I’m sure you’re aware it doesn’t scale well in terms of mass-producing groups of enemies,” states Atsushi Kaneko, Producer at A-1 Pictures. “Take any character that has a name – those are all hand-drawn. But other characters we decided to go with 3D because there’s a lot more range of expression that we could do and was more efficient. That was a decision we made with the director and CG director [Toshitaka Morioka].” Initially, the Shadow Army, which consists of the enemies killed by Sung Jinwoo and subsequently resurrected by him upon gaining the ability of a necromancer, was to be 2D rather than 3D. “The Shadow Army doesn’t have a lot of visual cues and information in terms of the colors and lines,” Kaneko remarks. “That would have been easy to animate in 2D, but in terms of how that would be conveyed on the screen, it would feel a little lacking. Then we pivoted to 3D and ran a lot of tests. When we finished it, got it through the pipeline and composited it together, there was a lot more range in terms of what we could express through animation.” Storyboard and final close-up shot of Sung Jinwoo as he takes on the Ice Elves. (Image courtesy of Atsushi Kaneko via X) Fights that are briefly depicted in the source material became major action sequences. “In terms of the choreography of the action scenes themselves, our protagonist, Sung Jinwoo, at the beginning is weak and pathetic, and we wanted to make sure that we captured that inexperience and clumsiness in his actions,” Kaneko states. “We agreed with the animation team that we would go in stages. As he becomes stronger, so would his action. In Episode 104, after he reawakens, we start to move a little away from reality and go into this suspension of disbelief. Jinwoo’s actions and choreography improved significantly, and you could see that over several subsequent episodes. We wanted to make sure that it felt dynamic, alive and cathartic when audiences see it. But it wasn’t just that thought. A lot of the decisions in terms of how the action was going to unfold didn’t always come from the director or action director [Yoshihiro Kanno]. Several of our keyframe artists in the storyboarding phase, or while animating, almost ad lib, so there was a lot of creative agency the animators had on the actual ground floor. That’s how all of the action came together under the guidance of the director and action director.” The Shadow Army features defeated foes such as Igris and Iron (former A-Rank Hunter Kim Chul) who have been resurrected by Sung Jinwoo through his ability as a necromancer. (Image courtesy of Atsushi Kaneko via X) Blood and gore are not in short supply during the fights. “Early on, the director [Shunsuke Nakashige] and I decided not to shy away from the gore, but we did have to have the conversation because in Japan if something is going to be broadcast then it needs to fall within certain limits,” Furuhashi explains. “But we wanted to push the limits of expression as far as we could for something that would go on air. Part of that comes from this idea that the series starts with the main character’s death, and he is beginning from the bottom; that needed to be conveyed to audiences in a visual way. Another reason that we didn’t want to shy away from the gore is even though this is a fantasy world, it’s set in the present day as we know it. In order to make sure that reality was conveyed, if you cut someone’s arm with a sword, they’re going to lose an arm.” Crunchyroll understood that the violence was an integral part of the storytelling. “When we first saw Solo Leveling,” remarks Kanako Takahashi, Producer at Crunchyroll, “which is quite serious and has a lot of violence, and understood the intent, the decision was made not to run away from that and to make sure it was embraced because it showed how serious the creators were in wanting to push the envelope.” An example of how detailed the storyboards can be, down to the eyes, which is also reflected in the final animation. (Image courtesy of Atsushi Kaneko via X) “A lot of the decisions in terms of how the action was going to unfold didn’t always come from the director or action director [Yoshihiro Kanno]. Several of our keyframe artists in the storyboarding phase, or while animating, almost ad lib, so there was a lot of creative agency the animators had on the actual ground floor. That’s how all of the action came together under the guidance of the director and action director.” —Atsushi Kaneko, Producer, A-1 Pictures 3D animation was utilized for the Shadow Army in order to make their simplistic shapes and forms more dynamic. (Image courtesy of Atsushi Kaneko via X) Magic Beasts appear ranging from the Blue Venom-Fanged Kasaka to Ice Elves that have volatile tempers and awe-inspiring agility. “I don’t know if I would call it a monster, but one scene that stands out to me is the Kargalgan gun battle because the action in that scene and the level of quality is second to none,” Takahashi observes. “Seeing how passionate the fans were and their online reaction to that battle in particular left a big impression on me.” The goal was to focus on adapting the source material as opposed to making creative decisions driven by the desire to stand out from other anime productions. “It was a natural result, and we’re grateful for the chance,” Kaneko states. “I didn’t feel like we were doing anything too different or out of the ordinary, but the chain of events that led ultimately to how fans reacted to it is something that differentiates us from other anime. In a way, we are also searching for that answer because we didn’t set out to do something very different or say, ‘We’re going to make this series about this or this is the angle we’re going to come from.’ The differentiation was also a byproduct of taking this IP and animating it.” The Shadow Army is ordered by Sung Jinwoo to assist the Hunters during the 4th Jeju Island Raid. (Image courtesy of Atsushi Kaneko via X) A scale and proportion study between Sung Jinwoo and the Ant King along with a final still of the bloodthirsty Magic Beast. (Image courtesy of Atsushi Kaneko via X) The passionate fan reaction to the Kargalgan gun battle left a lasting impression on Crunchyroll Producer Kanako Takahashi. As Sung Jinwoo becomes stronger, his actions become more dynamic. There is no holding back on the blood and gore as the consequences of being struck by weapons are grounded in the real world despite the fantastical settings. A quiet moment as Cha Hae-In ponders her encounter with Sung Jinwoo. (Image courtesy of Atsushi Kaneko via X) Watch the dynamic Jinwoo vs. Kargalgan battle in Season 2 of Solo Leveling: Arise from the Shadow courtesy of Crunchyroll and Solo Leveling Animation Partners. Click here: https://www.youtube.com/watch?v=dLKYFu_sMTM. And watch a GIF on the design and construction of an action sequence for the anime opening of Solo Leveling by Studio Ppuri’s Inseung Choi and his animation team. Click here: https://x.com/i/status/1747212779868901522.

Roughly a month after Moonvalley, a Los Angeles-based startup developing AI tools for video creation, said it secured $43 million in new funding, the company has raised more, according to a filing with the SEC. The filing, submitted Thursday, reveals that Moonvalley actually landed (so far) around $53 million total from a group of 14 unnamed investors. The filing indicates that this is an additional $10 million in cash, rather than a whole new round. It brings the company’s total raised to about $124 million, estimates Pitchbook, following on the heels of Moonvalley’s $70 million seed round last November. Moonvalley declined to comment. The wide availability of tools to build video generators has led to such an explosion of providers that the space is becoming saturated. Startups such as Runway, Lightricks, Genmo, Pika, Higgsfield, Kling, and Luma, as well as tech giants like OpenAI, Alibaba, and Google, are releasing models at a fast clip. In many cases, little distinguishes one model from another. Moonvalley’s Marey model, built in collaboration with a new AI animation studio called Asteria, offers customization options like fine-grained camera and motion controls, and can generate “HD” clips up to 30 seconds long. Moonvalley claims it’s also lower risk than some other video generation models from a legal perspective. But where Moonvalley is attempting to differentiate itself — hence the high VC interest — is on the data it’s using to train its models, as well as the safeguards in its video creation tools. Many generative video startups train models on public data, some of which is invariably copyrighted. These companies argue that fair-use doctrine shields the practice, but that hasn’t stopped rights holders from lodging complaints and filing cease and desists. Techcrunch event Join us at TechCrunch Sessions: AI Secure your spot for our leading AI industry event with speakers from OpenAI, Anthropic, and Cohere. For a limited time, tickets are just $292 for an entire day of expert talks, workshops, and potent networking. Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Berkeley, CA | June 5 REGISTER NOW Moonvalley says it’s working with partners to handle licensing arrangements and package videos into datasets that the company then purchases. The approach is similar to Bria’s and Adobe’s, the latter of which procures content for training from creators through its proprietary Adobe Stock platform. Moonvalley is also crafting an interface for its model. The company’s software, which it hasn’t previewed publicly yet, has storyboarding and “granular” clip adjustment tools, Moonvalley’s co-founders revealed in recent interviews. Marey can generate videos not only from text prompts but sketches, photos, and other video clips, claims Moonvalley. Naeem Talukdar, who previously led product growth at Zapier, founded Moonvalley with former DeepMind scientists Mateusz Malinowski and Mik Binkowski. John Thomas joined as Moonvalley’s COO — he and Talukdar had founded another startup, Draft, several years ago. Moonvalley also counts Asteria head Bryn Mooser as a co-founder. Many artists and creators are understandably wary of video generators, as they threaten to upend the film and television industry. A 2024 study commissioned by the Animation Guild, a union representing Hollywood animators and cartoonists, estimates that more than 100,000 U.S.-based film, television, and animation jobs will be disrupted by AI by 2026. Moonvalley intends to allow creators to request their content be removed from its models, let customers delete their data at any time, and offer an indemnity policy to protect its users from copyright challenges. Unlike some “unfiltered” video models that readily insert a person’s likeness into clips, Moonvalley is also committing to building guardrails around its tools. Like OpenAI’s Sora, Moonvalley’s models will block certain content, like NSFW phrases, and won’t allow users to prompt them to generate videos of specific people or celebrities. “We founded Moonvalley to make generative video technology that works for filmmakers and creative professionals,” Moonvalley wrote in a blog post in March. “That means addressing fear and distrust, as well as solving technical problems that keep generative AI from being a realistic tool for professional production.”