And such a sweet and lighthearted song deserves a sweet and lighthearted music video. And that's exactly what this is.
With incredibly bright colours and vivid movement and characters--- golly, it's sugar for the eyes.
It builds a grand and bright world full of colours and oh my god just happiness just pure happiness are you seeing this even the flowers are smiling. Takashi Murakami would be proud.
With elements of performance, (the singer being animated), this video is mainly reliant on concept. Which, to me, is quite a missed opportunity, because the lyrics do convey a narrative, and it'd have been very cool if the video conveyed a narrative too.
But for what it is, it's an incredibly bright and jolly video, for a bright and jolly song.
I'd like to think the premise of this video is some kind of homage to Toontown, (Who Framed Roger Rabbit? 1988), because, come on, it's pretty much parallel.
Like, really parallel. Right down to the bunnies.
But that aside, it's certainly a call back to the 1920-30's era of animation. Round-- childish-- and very fairytale-esque.
For whatever reason-- I don't like this music video. Well-- I like it, the animation is-- nice. And I like the idea of using the oldern-cartoon style-- but--Not for a song with such adult themes in it.
It's just wrong.
Blasphemous, even.
But regardless, the animation is very well done-- And it is a very clever idea.
Following a cherubic kid, straight out of a fairytale, following them throughout their messed-up, but deceptively child-like surroundings.
Of course though, much like many music videos, it's been done... better.
MIKA's Lollipop takes a similar premise, following a little girl through her slightly dodgy fairytale world. With clear references to Red Riding Hood, and Alice in Wonderland, it's much sweeter and more wholesome than the previous music video. And hey, it's also got bunnies in it---
Oh.
That's right. Lollipop also delivers it's more adult messages, though much more subtle than the previous video. Because nothing in music is sacred and honestly child-friendly anymore.
The song, while seemingly childish and sweet, does deliver a message regarding the definition between lust and love. It seems that most music videos these days usually go down one route or the other, so it's nice to see a music video exploring the definition between the two.
The animation, while basic, is very sweet and endearing. And just like the previous one, colourful and childish.
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As it's unanimous that we'll be using Animation in our music video, and as I'm chief Animator-- (I'm the only animator), I'll be looking at some examples of animation in music videos.
Firstly, Peter Gabriel's Sledgehammer.
Let's face it, this is a trippy video. I love it, but it's mad.
There's certainly no narrative to it at all, so it's solely concept-driven. And, well, performance too, considering Peter Gabriel's ridiculous face is right in the middle of it all.
There's a use of mixed media, of course. But for the most part, it's based upon stop-motion. And when it isn't, it's camera tricks.
We may or may not incorporate some of these tricks in our music video---
It might be cool to do so, but-- Sledgehammer is really weird and aged. We don't want our music video to be so, too.
Ah, here is something modern. A recent single from Arctic Monkeys brings along this visually intriguing music video, Do I wanna know?
The beginning is simply S-waves to the music, but with the chorus, it evolves into something much more interesting. The waves morph and transform into and out of eccentric characters and vivid movements. An interesting concept, definitely, and it's stunning to view. The fluidity and the way the movement compliments the music is incredible. The video gradually gets more and more ridiculous and fast-paced as it reaches the end. Again, an incredible finish to a great video. It reminds me of Disney's Pink Elephant's on Parade, in the way objects are morphing into each other, and how it both visually stunning, and baffling.
This is my kind of music video. It really tugs on the heart strings, right?
Okay, it's utter madness. But of course it is. It's japanese.
The crazy Japanese 90's Techno Artist, Denki Groove put out this single in 1999, and boy howdy, is it nightmare fuel. While it may not be animation-based, I had to mention it at some point, because of the sheer eccentricity. When it was established that we were going to be making music videos, this was exactly the kind of video I had in mind. I'm sorry to admit that, but it's true.
With bright clashing colours, and a cluttered room in a dark and ambiguous atmosphere, it very much clouds the mind. And a music video that leaves the audience with such a strong reaction, is a great music video in my book. Try to watch it without finishing it thinking: "...What the---"
Studio Killers has quickly become one of my favourite musical groups. The beat and melodies are incredibly catchy, sure, but the music videos are stunning. Talk about eye-candy.
Like Sledgehammer, this video also utilises mixed media, but of course, in a vastly different way. The lead singer, Cherry, is an animated CGI model. She was brought to life with 3D animation software. Her surroundings and additional characters, however, are brought to life in 2D. While it brings about a beautiful contrast to make the lead singer stand out in the video, the two media coincide beautifully, truly blurring the lines between 2D and 3D.
The group is similar to British musical group Gorrilaz, in that the group members are represented by animated characters, rather than themselves. The two other members in the group are represented by the fox, (Goldie Foxx) and mink, (Dyna Mink), shown to be playing the music in accompaniment to the singer.
If ever a music video built an atmosphere, this would be it. Incredibly memorable, and outstandingly heart-wrenching, Bedshaped, from Keane, is truly remarkable.
The dark and gloomy colours--- the slanted surroundings-- the queer, odd-ish design of the character. All of these help form the weird and isolated world of the character in this video.
Mainly reliant on concept and narrative, but still retaining some small aspects of performance, the music video follows a strange and outcasted character, and really conveys the feelings of anxiety, loneliness and fear to the audience.
Though the video is mostly stop-motion, there are parts of 2D hand-drawn animation, and so, it is also a mixed media video. The hand-drawn animation however, especially towards the end, is free-moving and fluid, juxtaposed to the stiffness of the plasticine figures. Also the brightness of the ending is a beautiful juxtaposition to the darkness of the beginning and middle of the video.
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While this music video is like 27 years old, it's the best, for two main reasons.
1) It's visually awesome. Especially for it's time.
2) It mixes two things I love. Comic Books, and 80's Music.
heehee
So this music video follows the story of a girl who happens to be reading a comic book in a café and totally has the hots for this comic character when the comic book just so happens to come to life.
And she's taken into the 2D-world, and falls super in-love with comic character, you see.
Then, tragedy strikes when the café owner interprets the girl's absence as that she left without paying and so she tosses the comic book in the bin and so the comic book world falls into chaos.
The girl manages to escape back to the real-world, and runs out of the café to see what happens next in the comic-- And handsome comic character appears to have been whacked one-- or killed-- But--
Handsome comic character breaks from the comic, and becomes real.
And they all lived happily ever after.
The shot above, simply, introduces the male protagonist of the narrative. Though it's a drawing, and not-- you know-- live action, the extreme close up of the character's features allows the audience a slight sense of intimacy with the character yousee.
The beginning sequence, (0:00 - 0:37) presents to the audience the world of the comic.
And then, our female protagonist.
Who is typically pale and cute and girlish. But not completely girlish because I mean
she's reading racing comics clearly meant for boys so
that's a bit of smashing stereotypes which is great.
Now here's the beautiful part where things start getting really cool.
That 2D-world hand reaching out into the 3D-world. It's just incredibly clever how they entwined live-footage and hand-drawn animation. This mixed media is beautiful to watch.
And here's another really clever part. They're really playing around with the whole Cartoon/Reality, and it's utterly brilliant.
What's this? A threat? Here comes the conflict. May I say how I love the drawing+animation style, and how wonderfully sketchy and choppy it is, but how beautifully it flows together.
There's not really at all much to say about morality and representation, because it's...
From the 80's--
Simpler days, n'all.
The two characters are not at all explored in terms of class, or regionality. All that can be inferred is that they are a male and female, both late teens to young adults, and their clothing and hair very much reflect the style at the time.
The lack of depth of the characters puts the narrative into full focus. While a music video is a brief amount of time, and not the idealistic time to introduce a well-thought-out character, I do wish the two characters were explored slightly more.
The music video follows a simple, straightforward narrative, establishing a few, one-dimensional characters...
And follows it through until the end.
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