Koko's Earth Control (1928) Max Fleischer
Koko's Earth Control was released in 1928 by Max Fleischer who had invented the Rotoscope, a device that by tracing motion picture footage of human movement allowed for animation to be more lifelike. This led to Koko's animations be far ahead of their time in fluidity an realism. Koko's Earth Control also experimented with lighting effects quickly switching between an image of lightning and it's negative to simulate the cartoon apocalypse Koko's dog Fitz triggered by pulling the lever to destroy the world. Many of the elements of the story are common tropes today but were rather innovative and novel at their time. The animation also used live action shots showing the real world's reaction to the apocalypse. Koko and his dog Fitz were highly polished character at this point and were proving quite popular with audiences.
This animation used a lot of key frames and repeated movements back and forth in a sort of simulated "double take" much like Winsor McCay's use in Gertie the Dinosaur. One should compare the fluidity and style of Koko's Earth Control with Walt Disney's Steamboat Willie which was released the same year.
A lot of fluidity was thanks to a more polished and finalized Rotoscope and streamlining of the character Koko to allow him to more easily animated. Max had developed a prototype of the Rotoscope and was trying to get investors when he ran into J.R Bray of Bray Studios. The two had previously worked together as cartoonists with the Brooklyn Daily Eagle and was hiared to work at Bray Studios while he continued to test and improve his Rotoscope.
This animation used a lot of key frames and repeated movements back and forth in a sort of simulated "double take" much like Winsor McCay's use in Gertie the Dinosaur. One should compare the fluidity and style of Koko's Earth Control with Walt Disney's Steamboat Willie which was released the same year.
A lot of fluidity was thanks to a more polished and finalized Rotoscope and streamlining of the character Koko to allow him to more easily animated. Max had developed a prototype of the Rotoscope and was trying to get investors when he ran into J.R Bray of Bray Studios. The two had previously worked together as cartoonists with the Brooklyn Daily Eagle and was hiared to work at Bray Studios while he continued to test and improve his Rotoscope.
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