"We'll meet again, don't know where, don't know when, but I know we'll meet again some sunny day."
-Chikn Nuggit, "An episode made for Tik Tok in case the app gets banned for real"

"I missed."
-Pepé Le Pew, "For Scent-imental Reasons"

Animation, at least in America, feels a bit weird right now. Maybe a bit unhealthy, but not in a "sick and dying" kind of way, but in a "your diet is messed up" kind of way. My most recent review besides this one is Flow, a micro-budget independent movie from Latvia made with Blender, while The Day the Earth Blew Up is the latest iteration of major studio Warner Bros.'s most famous IP, featuring marketable characters older than World War II. And yet, somehow, the former review feels like an unnecessary noting of something everyone was already aware of anyway, while this review feels more like a spotlight on a small unknown that deserves a wider audience.

"'Cause the good old days weren't always good
And tomorrow ain't as bad as it seems"
-- Billy Joel, "Keeping The Faith"

I would submit that the ways in which we use our oh-so-superior creative tools nowadays, from spellcheck to AI, reveals far more tolerance for the past than we'd care to admit. All across social media you'll find more "icebergs", "rank" lists, and things "you didn't notice" than you can shake a VR trigger at. Proof springs eternal, oddly enough within the very works of art that are cranked out. This is certainly evident in the comics reviewed below (Scrapper and The Ruff and Reddy Show), which, to beg your pardon, are more analog than digital in nature.

Three reviews today, starting with the trailers for:

The first two can be skipped, and the third is a maybe.

It’s time for the third annual review of furry shorts released the prior year. In these I go through the previous year’s released animation shorts released, typically on YouTube, to see which ones stood out to me. I will note however that this year really was all kill and no fill on the recommendation list. I’m glad to see that there are so many passionate fans finding good content out there and the improvement over all.

I will admit I did miss a bit of the “what the heck did I just watch” surprises for this year. Hopefully things don’t get too sterile. But when it comes to short stories worth a watch there is no shortage of goodness this year.

So without further ado, let’s continue.

(Prior Years: 2023, 2022)

Welcome to my top ten list of movies for 2024. It's pretty self explanatory, and I've explained "the rules" plenty of times in the past, but I think I should explain one qualification for what constitutes a "2024" movie for my list, as it applies to one movie this year and has caused confusion in the past. Basically, I'm going by theatrical release, not festival premiere, like IMDB does.

Other than that, just a reminder that this isn't supposed to be a specifically furry list, even if this is a furry site, but I will award a Best Furry Movie, with this year going to The Wild Robot. At the start of the decade, this had a pretty high correlation with the Ursa Major Award for Best Anthropomorphic Motion Picture, with victories for Wolfwalkers and Raya and the Last Dragon, but in the last two years, I seem to have lost my short status as furry middlebrow tastemaker, as Turning Red lost to Puss in Boots: The Last Wish and Guardians of the Galaxy Vol. 3 lost to Nimona. All four of my picks for Best Furry Movie also ended up being my number one pick those four years, as well (spoilers for this year's list?). I also, just for fun, as a fox fan, give out a Cutest Vixen Award, and this year that goes to Zhen from Kung Fu Panda 4. In less furry accolades, I do sometimes list a movie from the previous year that might have made the list if I'd seen it before publication (not that this is a correction) and for 2023 I'll say The Holdovers was pretty good.

Sirocco and the Kingdom of Winds (trailer) is a 2D children's animated fantasy film, a Franco-Belgian production released in 2023, directed by Benoît Chieux who co-wrote it with Alain Gagnol. Imdb rates it 7/10.

Carmen and Juliette are sisters, whose mother drops them off with her friend Agnes to babysit for a day. Agnes has forgotten they'd be coming, and asks if they can be quiet for a half-hour while she takes a much-needed nap. She's the author of a long-running book series called Sirocco, and had been staying up all night writing.

Unable to sit still, Juliette rifles through one of Agnes' books, weird stuff happens, and the sisters end up in the world of the book, transformed into cats. After Juliette gets them in trouble with the local mayor, they embark on a quest with an avian opera singer named Selma to find the elusive Sirocco, a mysterious, reclusive, and mercurial sorceror.

A janitor finds himself on the night shift as a desperate CEO presses for his employees to work later into the dark for the week. This would normally just be an annoying inconvenience, but for Kyle the janitor, there are far worse implications to this situation as in the darkness of night, the humble cleaner becomes a bloodthirsty werewolf. As the head of security, Daryl, starts to become wary of the presence of the beast and becomes obsessed with bringing him down, will our precariously employed wolf be able to clean up the messes assigned to him and not create any new ones caused by satisfying his carnivorous appetite? The hunt is on.

The game’s premise is quite simple, and the game is short, which is probably why it is offered for no cost on Steam. When I streamed the game I was able to beat it in about an hour, and subsequently was able to replay the pre-designed levels for each day to lower my times and be as pacifistic as possible. It took me one additional hour to get all the visible accolades.

L'ogre Lion is a three-volume French hardcover comic published from 2022 to 2024. The story and art are by Bruno Bessadi, with colouring by Joo, and it was published by Drakoo. Reading it with mid-level French, I had to look up a lot of words, and I doubt that it'll get an English translation, so... spoilers ahead!

This is an action-fantasy comic with lots of anthropomorphic mammals! The story begins in a medieval European setting. A badly-scarred lion stumbles through the woods, not native to this part of the world. (People keep mistaking him for a lynx.) He's afflicted in three ways: with amnesia, with a recurring nightmare of his dead children, and with an extremely angry, vengeful spirit inside of him.

Whenever the lion dies, he suddenly transforms into an 8-foot-tall antelope who slaughters any carnivores nearby, before the pain of manifesting in the mortal realm becomes too difficult to bear. The antelope then retreats into the spiritual realm, and restores the lion to life. Needless to say, the lion is not happy.

Flow is about a black cat who lives alone, and then one day, it doesn't anymore. Because one day water came, too much water, and all the land was flooded. The cat ran away from the water, but it couldn't run forever, so it went to live on a boat with a friendly capybara. Together, the cat and the capybara followed the water, which flowed towards a giant pillar in the sky. It seemed like this would be the last dry land in all the world. Along the way, the capybara and the cat met a lemur, a dog and a secretary bird. Did they become friends? Probably.

There is no dialogue in this movie. Nobody explains anything to each other, for the convenience of the audience, because all the characters are animals, and they only say cat things like "meow" and dog things like "woof woof" and capybara things. If man could talk the animals, perhaps they would only find out that these animals don't really know what's happening either. Where did the water come from? Where did all the humans go? This is a world that has passed on.

If there's one furry series I should be completely behind, but have always been a bit down on, it's Illumination's Sing franchise. The series is set in a completely furry world, with a complete lack of humans – something I can always get behind. And yet, I can't ever quite get behind them.

I think if I had to put my finger on what's wrong, it's that the Sing movies feel like the Illumination version of Oscar bait, being behind the scenes musicals that ostensibly celebrate the performing arts, something Academy Awards voters should, in theory, love; and yet, they can't even get the easy lay up of Best Original Song, which is straightforwardly embarrassing for movies called, well, Sing. It's not that they're failed Oscar Bait, it's that they're not going for Best Picture, or even Best Animated Feature, but simply seem to be aiming to be nominated in that category. They're not aiming for the top, and they're still missing!

Or maybe I'm just being too hard on them, and displacing my own Oscar obsessions on this otherwise innocuous series of jukebox musicals with no higher goal than to be entertaining bits of fluff. The newest entry in the franchise, if it can be called that, is just that. Sing: Thriller is a short available on Netflix, and it features a simple take on a nightmare zombie apocalypse, but furry and kid-friendly; an obvious homage to Michael Jackson's Thriller. It's definitely for kids, with a rating of TV-Y, for "fear", which I think would only apply to the absolute youngest viewers.

"It's a brutal world for all of us, really, and some aspects of it are not comfortable for the sentimental or the squeamish. Somehow that's never dimmed my love for all animals. I celebrate their beauty, even the darker side of it." (Introduction, The Book of Deadly Animals)

"The predators far outnumbered the vegetarians."
(last words, The Red Hourglass: Lives of the Predators)

It's October, the "spooky" month with Halloween at the end of it; I sometimes take advantage of that to bring to light something a bit more horror themed than the usual Flayrah fare.

This year, I'd like to share the non-fiction books of Gordon Grice, which are about animals and their sometimes very tense relationship with man, because they are some of the scariest things I've ever read, and so appropriate enough under the "it's about animals and it's spooky" month to stretch the boundaries of what a furry publication can cover. Furthermore, from a personal angle, Grice spent much of his life where I'm originally from, the Oklahoma Panhandle (we share a birth town), and I occasionally like to shine a light on what would be to me local authors.

"The Red Hourglass: Lives of the Predators", Delacourte Press, 1998, 259 pages, Kindle $5.99, hardcover $19.32, paperback $17.10
"The Book of Deadly Animals", Penguin Books Ltd., 2010, xxvii + 383 pages, Kindle $4.99, paperback $24.00, illustrated, originally published as Deadly Kingdom

WARNING: READ BEFORE PLAYING

Liar's Bar contains intense and graphic depictions of violence and death, themes of suicide, and other mature content that may not be suitable for all audiences. Player discretion is adviced. If you or someone you know is struggling with thoughts of self-harm or suicide, please seek help from a qualified professional or contact a local mental health service. Your well-being is important to us, and we encourage players to prioritize their mental health while engaging with our game.

The game features mature themes, and is intended for adult audiences only. If you are under 16, please step outside.

This warning is one of the first things you see after booting up Liar's Bar. I want to stress, and I don't care what you think of "trigger warnings", this warning is not kidding. This is a messed up, repugnant game; I think I kind of love it. (It also contains depictions of tobacco use.)

Okay, real talk, this is kind of a dark streak of submissions from this contributor (thank goodness for animated movies ... with jokes about infant mortality!), this game might be the most worrisome yet. I retweeted some fan art of the game, then realized, out of context, that might not look like something entirely, well, healthy to be reposting. Because the marquis attraction of Liar's Bar is that it's basically a furry Russian roulette simulator. Just so you know what you're getting into.

Liar's Bar is published by Curve Animation, and is currently available on Steam for $6.99, where it is still an "Early Access" game.

Chris Sanders has only directed four animated features (plus a live action adaptation Call of the Wild), and the previous three (Lilo & Stitch, How to Train your Dragon and The Croods put him in four way tie for most nominations without a win in the Best Animated Feature category at the Oscars. It feels pretty certain that The Wild Robot will be the movie that finally wins him that Oscar, but we'll keep such speculation to a minimum.

Sanders's first feature, Lilo & Stitch, is probably the only truly great movie to come out of Walt Disney Animation Studios in the first decade of this century. (To be clear, you're allowed to like other movies from that decade, but most were flawed.) Anyway, the upshot of Lilo & Stitch becoming a beloved classic is that its directors, Sanders and his writing and directing partner, Dean Deblois, were driven out of Disney by John Lasseter a few years later (I don't like that guy).

Sanders and Deblois took their talents to DreamWorks Animation, where they delivered How to Train Your Dragon to the studio, often seen as one of the highlights of its output.

I've often seen Sanders cast as the "idea guy" in the Sanders/Deblois partnership, as well as being the guy who brings a lot of unique visual aspects to his projects, while Deblois is the more story-driven member of the partnership, bringing in the emotional aspects. I'm not so sure about that, especially after this movie, which features an emotional story just as potent as Lilo & Stitch and How to Train Your Dragon, sans Deblois. The Wild Robot also features a visual design that echoes the original illustrations of the book it's based on, by Peter Brown, showing Sanders is more than just a recognizable art style.

It always pleases me to say, particularly to furry audiences, that a hiatus was taken for less exciting and dramatic reasons than those they may have cooked up. In this case, I’m glad to return to posting an occasional media review here and there after five years of being between smartphones, plus the additional snag of quite the dry spell in terms of worthy things to write of. (Thanks for holding back on Jackbox, guys.)

Making use of snazzy resources, both analog and digital – remember your local libraries, folks – takes you a long way. It certainly brought these two disparate cat stories back to my attention.

When discussing modern adaptations of classical Greek myths, you can frequently see people complain about the changes the authors made: "That's not authentic, not traditional; that's not what really happened in the original." In fact, reinterpreting old stories, giving them a new, contemporary meaning, weaving several different tales into one - is the truest, most authentic Ancient Greek tradition. That's what Greek (and, later, Roman) writers always did.

Of course, some older texts - Homer, in the first place - were regarded higher than others, but there was no 'canon', no Old Testament; no single authority on what 'really happened'. In one of Euripides' tragedies, Helen of Troy is a callous, cynical adulteress; in another by the same poet, she's a woman of the highest moral qualities who's never even been to Troy. That's because, when writing these two plays, Euripides set very different tasks before himself.

'Icare' (2022) is a French-language feature film mixing 2D and 3D animation. It was made by Luxembourg studio The Iris Group, directed and co-written by former Pixar employee Carlo Vogele. The movie was the Luxembourg's "Best Foreign Film" submission for the 2023 Oscars. It tells the story of Icarus, son of the illustrious artist and inventor Daedalus, entwining it with another famous Cretan myth - that of Asterion ("stellar", "star-like"), more commonly known as the Minotaur.