{"id":103221,"date":"2024-03-11T15:18:00","date_gmt":"2024-03-11T15:18:00","guid":{"rendered":"https:\/\/wrongeverytime.com\/?p=39596"},"modified":"2024-03-11T15:18:00","modified_gmt":"2024-03-11T15:18:00","slug":"the-wonderful-world-of-puss-n-boots","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/03\/11\/the-wonderful-world-of-puss-n-boots\/","title":{"rendered":"The Wonderful World of Puss \u2018n Boots"},"content":{"rendered":"

Hello folks, and welcome back to Wrong Every Time. Today I am delighted to announce we\u2019re returning to the venerable films of Toei Doga, this time screening the much-loved Wonderful World of Puss \u2018n Boots, one of the final films of the studio\u2019s original golden age. Coming out shortly after the landmark Horus, Puss \u2018n Boots was actually something of a step back in terms of dramatic content – Isao Takahata\u2019s first masterpiece was a true outlier in its era, and it would take some time for projects like the World Masterpiece Theater to catch up with his vision of a more tonally somber, morally ambiguous medium.<\/span><\/p>\n

That\u2019s not meant as a jab against Puss \u2018n Boots, though! There\u2019s no shame in offering a rip-roaring adventure, and Puss \u2018n Boots further benefits from involving most of Toei Doga\u2019s best animators at the peak of their powers. The legendary Yasuji Mori is once again handling animation direction, meaning I\u2019m sure we\u2019ll be able to admire the fluid sensitivity of his character acting scattered throughout the film, while Yasuo Otsuka, Reiko Okuyama, and Hayao Miyazaki all stand among the film\u2019s formidable slate of key animators. Otsuka described his time on Puss \u2018n Boots as something like a playground of unbound animation, and Miyazaki\u2019s contributions here are so legendary that he himself would end up echoing them in later projects like The Castle of Cagliostro. Hell, the film\u2019s so iconic that its protagonist still stands as Toei\u2019s mascot, half a century down the line. I\u2019ve rambled more than enough about the film\u2019s unimpeachable credentials, so let\u2019s get to it!<\/span><\/p>\n

<\/span><\/p>\n

The Wonderful World of Puss \u2018n Boots<\/b><\/p>\n

\"\"<\/p>\n

We open on a scene of dramatic action, as our heroic feline is chased through a graveyard by a cadre of equally furry assailants, all while lightning cracks in the background. I like how this lightning is used to play with the color palates here – everything is momentarily lit in brighter, more colorful hues as the lightning strikes<\/span><\/p>\n

Ooh, and a dynamic transition here, with the glow of the lightning morphing into the sheen of this official\u2019s knife<\/span><\/p>\n

\u201cYou freed the mice!\u201d \u201cWell, that\u2019s because the moon was so blue tonight.\u201d The context for this chase is established in moments, alongside a clear indication of our protagonist\u2019s irreverent personality. The pacing already feels more \u201cmodern\u201d compared to the early Toei Doga films, similar to how Horus started with a sequence of frantic action. You generally can\u2019t start slow in more modern adventure films, particularly those intended for children<\/span><\/p>\n

\"\"<\/p>\n

Our hero\u2019s name is Pero<\/span><\/p>\n

And another dynamic transition, as Pero cuts through both his bindings and the screen to reveal the film\u2019s title. The direction feels extraordinarily confident and propulsive here, and also more directly aligned with the animation – a clear change from the earlier Toei Doga films, which involved more standout displays of character acting on top of a flat background than this sort of fusion of animation and overall storyboarding<\/span><\/p>\n

Love the playful designs of this big boss cat and his three subordinates<\/span><\/p>\n

And more excellent flourishes of composition, with these three nooses dropping down and briefly being filled with silhouettes of the minions being hanged. Just so much creativity and fun art design in every moment!<\/span><\/p>\n

\"\"<\/p>\n

It\u2019s funny, this extremely confident and altogether familiar articulation of a children\u2019s adventure is making me appreciate all the more how <\/span>strange<\/span><\/i> Toei Doga\u2019s earlier films were, how melancholy and frequently unconcerned with child-friendly payoffs<\/span><\/p>\n

Even the opening credits echo this transition, offering an energetic chase between Pero and pursuers in the background, rather than the stately procession of title cards that preceded prior films<\/span><\/p>\n

Also like how Pero and his pursuers remain eminently cat-like, frequently stopping to nap or chase butterflies<\/span><\/p>\n

You can definitely sense the seeds of Castle of Cagliostro\u2019s Lupin in Pero\u2019s behavior. He even sounds like Lupin<\/span><\/p>\n

\"\"<\/p>\n

Pero looks into a nearby cabin, wherein two brothers are plotting to deny their third brother Pierre his share of the inheritance. Their designs call back to Little Prince\u2019s collection of geometric shapes, though somewhat softened, with the characteristic tapering of form indicative of Mori\u2019s designs<\/span><\/p>\n

The brothers pile on poor Pierre in various other ways, insulting his cooking and demanding he remove his ugly face from their vicinity<\/span><\/p>\n

Pierre invites Pero inside. An interesting twist here – Pierre would have been the protagonist in earlier Toei Doga films, but here the animal companion takes center stage<\/span><\/p>\n

\"\"<\/p>\n

Love how the smallest of these three pursuing cats can barely fit in his robes. Delightful character animation as he shuffles along, almost lost within his sleeves<\/span><\/p>\n

He\u2019s too short to even draw his sword, and instead falls out the window. Top shelf stuff<\/span><\/p>\n

Oh my god. The first pursuer gets his sword bent on a pot, and then immediately whips out an anvil to start hammering it back into shape. Even the humor feels like delightful proto-Lupin nonsense<\/span><\/p>\n

Meanwhile, the tiny cat is still outside, repeatedly trying and failing to leap onto the windowsill. I can see exactly what Otsuka meant – this film is already proving a pure celebration of animation\u2019s whimsical, naturally amusing capacity for comedy and storytelling. Every movement is playful and full of energy<\/span><\/p>\n

\"\"<\/p>\n

Lots of great gags predicated on pacing too – a variation on that classic \u201cDuck Season, no Rabbit Season\u201d bit with this cat preemptively dodging an apple then getting hit by the next one, plus the inherent humor of the two brothers attempting to distribute their ill-gotten gains while this chaotic action scene goes on around them<\/span><\/p>\n

Pierre\u2019s design is more rounded and realistic than his brothers, an aesthetic distinction that also carries through to his more grounded style of character acting. He feels the most like an obvious Yasuji Mori character, standing out similarly to Helga in Horus<\/span><\/p>\n

Having divided their father\u2019s fortune, the nasty brothers kick Pierre and Pero out of their home<\/span><\/p>\n

\"\"<\/p>\n

A classic Mori Moment as Pierre stands utterly still, incapable of reckoning with this hideous change in fortunes while Pero inspects his bag of belongings. The following sequence of character acting is similarly excellent, Pierre\u2019s body crumbling against the door as he begs to be let in. This discordance in Toei Doga films has become one of my favorite things about them – in the wake of something as utterly farcical as that last scene, a moment of genuine grief and despair<\/span><\/p>\n

A held shot on his crumbled bag and loose potatoes emphasizes his destitution<\/span><\/p>\n

\u201cI don\u2019t see any sense in sticking around this shack. The world is a vast place, you know?\u201d Echoes of Gulliver\u2019s Journey to the Moon in Pero reviving Pierre\u2019s spirits<\/span><\/p>\n

\"\"<\/p>\n

Lovely backgrounds as the two set off on their adventure. I think Little Prince\u2019s unique modernist style will always be my favorite among the Toei Doga aesthetics, but all of their films are beautiful in their own ways<\/span><\/p>\n

The two seem to be journeying through a fantastical European countryside, another shift from the generally Chinese and Japanese legends of early Toei Doga films, and another indication of the evolving interests of Toei\u2019s key artists<\/span><\/p>\n

\u201cIt says here that the richest and strongest man in the country will be given Princess Rose as his bride!\u201d Quite the energizing pitch here – are we actually in for some kind of tournament?<\/span><\/p>\n

\"\"<\/p>\n

Nice depth-rich compositions that peer through several levels of scenery within this castle town. Earlier Toei Doga films frequently employed foreground debris to create a sense of depth in spite of the action all still taking place on one plane. Here, we see characters moving across all the levels of the scenery, a trick that Miyazaki will embrace for most of his future projects (even the TV-bound Sherlock Hound offers some of them)<\/span><\/p>\n

Princess Rose passes by in her carriage. A funny contrast between her rounded, somewhat more realistic Mori-style design, and the exaggerated, angular caricature of her driver<\/span><\/p>\n

Pero promises to hook his good buddy Pierre up with the princess<\/span><\/p>\n

\"\"<\/p>\n

Remarkable breadth of distinct costumes in these crowd scenes. Unlike many prior Toei Doga films, there\u2019s no real \u201cset costume\u201d for the king\u2019s subordinates, they all have their own form of regal dress<\/span><\/p>\n

The various princely suitors all introduce themselves with a representative form of dance. Movement is characterization here, and the entire film is infused with a musical sensibility that extends beyond its overt musical theater sequences<\/span><\/p>\n

Suddenly a great gust of wind blows all of the suitors out of the audience hall, and a terrible, looming figure appears!<\/span><\/p>\n

He introduces himself as Lucifer, Prince of Darkness. Seems like an upright sort of fellow<\/span><\/p>\n

\"\"<\/p>\n

Always amused by the contrast of Christian iconography generally being used for stuff like children\u2019s villains or goofy inversions like Mr. Satan in Japanese media, which of course plays havoc on their adaptation into countries that see Satan as anything more than a fairy tale. Christianity is an imagery gold mine if you can accept that certain audiences are going to take your plundering a little too seriously<\/span><\/p>\n

Lucifer recreates the king\u2019s palace in diamond, which is more than enough evidence of his suitability for the king. Echoes of Little Prince\u2019s crystal palace here<\/span><\/p>\n

I like how Lucifer\u2019s skin color reflects his mood – pink for his romantic ardor, green with bitterness when he gets rebuffed<\/span><\/p>\n

\"\"<\/p>\n

Excellent color choices as the scene shifts to a decaying ruin, Lucifer exploiting his powers to convey the consequences of defying him<\/span><\/p>\n

The king is given an ultimatum: three days from now, he must bring his daughter to Lucifer\u2019s castle to be wed. A clear timer to impart a greater sense of urgency, another departure from earlier Toei Doga\u2019s more freewheeling narrative approach. It kinda felt like the team weren\u2019t even sure <\/span>how<\/span><\/i> to end Anju to Zushiomaru, with its story devolving into a series of fight scenes that departed heavily from the source material<\/span><\/p>\n

Pero sees all of this as a great chance for Pierre, who need simply defeat Lucifer in combat to gain the hand of the princess<\/span><\/p>\n

\"\"<\/p>\n

The Castle of Cagliostro parallels are only stacking as the film continues; this is essentially the main plot of Cagliostro, and Rose\u2019s castle even resembles Cagliostro\u2019s lonely home<\/span><\/p>\n

As Rose sings of her hopes and misfortunes, a group of mice appear to steal Pero\u2019s fish, offering another opportunity for more goofy character acting. Another odd tonal contrast that\u2019s common within these Toei Doga features: the animal mascot characters engaging in goofy shenanigans while the human characters lament their terrible fate, a feature of both Horus and Anju to Zushiomaru<\/span><\/p>\n

Gotta love this mouse leader\u2019s tuna can hat, though. Where did he even find a tuna can in this era?<\/span><\/p>\n

\"\"<\/p>\n

The mice pulling down their hats into conical disguises is another beat you see all the time in anime, but would never see in American media. Even Redline had friggin\u2019 \u201cLynchman\u201d as a character<\/span><\/p>\n

The three cat minions urge Pero to eat these mice and repent his crime. I like the implication that they\u2019ve just been hanging out in the bushes for the last several days, enjoying the adventures of Pero and Pierre until duty rouses them to action<\/span><\/p>\n

Pero defeats his assailants with a gag anyone can appreciate: the two of them run off a cliff into open space, only falling once they realize they\u2019ve left the ground behind them. Truly the essence of cartooning<\/span><\/p>\n

\"\"<\/p>\n

Even Pero feels bad about sending the baby cat off the cliff, but such is the fate of his cruel oppressors<\/span><\/p>\n

The mice decide to become Pero\u2019s followers in gratitude. Wouldn\u2019t be a Toei Doga film if we weren\u2019t stacking mascots on top of mascots<\/span><\/p>\n

Excellent sight gag as the mice whip out measuring tape to take Pierre\u2019s measurements, apparently always prepared to fit a young man for a princely new outfit<\/span><\/p>\n

More excellent layouts as the mice investigate the town. This castle town is so inviting, and this whole film is so energetic; I\u2019m not surprised this film essentially became Toei\u2019s statement of purpose<\/span><\/p>\n

\"\"<\/p>\n

Ooh, inventive cut reintroducing Pierre\u2019s brothers. We seem them approaching on a horse-led wagon, and then as the camera pans up an inn, they reappear opening the window at the top. A playful way of conveying their movement <\/span>without<\/span><\/i> movement, as if we\u2019re scanning across a picture book and seeing them appear time and again<\/span><\/p>\n

I like how even the inanimate objects are given ways of \u201cdancing\u201d along with the rhythm of the music. Previously they had the bouncing potatoes in Pierre\u2019s bag lend the bag a sense of rhythm, and here the uneven wheels of the mice\u2019 wagon make it so it essentially nods along with the beat<\/span><\/p>\n

The mice gallantly sing of their bravery and willingness to challenge anyone, even a big dog<\/span><\/p>\n

\"\"<\/p>\n

They\u2019re doing a bit of a Cyrano de Bergerac conceit here too, with Pero providing the romantic entreaties while Pierre just stands on the castle wall staring at the princess<\/span><\/p>\n

Unfortunately, he is again interrupted by the three cat pursuers, leading into a genuine Scooby Doo-style chase among the castle corridors. Lupin indeed!<\/span><\/p>\n

You can really appreciate the loose mandate offered to these animators in the frequency of these wacky chase sequences. The film frequently digresses for a few minutes simply to celebrate the energy and comedy of these cats in contest<\/span><\/p>\n

Another classic gag sequence as the lights go out, and Pero\u2019s pursuers find themselves accidentally dueling each other<\/span><\/p>\n

\"\"<\/p>\n

Pero stumbles into the king\u2019s chamber. The king is apparently not surprised to receive a cat as an envoy, but I suppose kings would be accustomed to such things<\/span><\/p>\n

Pero claims he is the envoy of Duke Caraba<\/span><\/p>\n

With Pero indisposed, the mice sub in as Pierre\u2019s new hype men<\/span><\/p>\n

Ooh, lovely animation of the white rose falling from Pierre\u2019s hands. Also an interesting effect used to convey this overwhelming light as he considers his feelings – it looks like they shined light through layers of colored paper or glass beneath the animation cels<\/span><\/p>\n

\"\"<\/p>\n

The castle looms high above, its towering peak emphasizing Pierre\u2019s feelings of unworthiness. And so he flees, unable to rise to the title of Duke Caraba<\/span><\/p>\n

Excellent flourish of Pierre\u2019s brother pounding his hand on the railing in fury, then immediately blowing on his poor bruised hand<\/span><\/p>\n

Pero\u2019s angry fist serves as our next energetic transition, leading us to the two brothers touting their accomplishments to an unimpressed and suspiciously cat-shaped gate guard<\/span><\/p>\n

This is quite a funny film in the context of Castle of Cagliostro; it\u2019s basically just \u201cwhat if Lupin was played by a cat,\u201d meaning all of his seductions must be transposed into evidence of \u201cDuke Caraba\u201d being worthy of the princess<\/span><\/p>\n

\"\"<\/p>\n

Pero now employing his army of mice to strong-arm peasants into praising Duke Caraba. An echo of Horus\u2019 dramatic stills, here naturally paced to the beat of the drum<\/span><\/p>\n

More playful alignment of the musical beat and the animation, as a gramophone recording of Duke Caraba\u2019s theme song is played forward, backward, and with a stutter-step, each variation matched to the marching of the king\u2019s procession<\/span><\/p>\n

This film has such clear unity of intent; playful animation of animal companions has always been a staple of Toei Doga films, but never before has it been such a central priority, facilitated by both the direction and the persistently animation-timed soundtrack<\/span><\/p>\n

Pero manages to snag Pierre a <\/span>second<\/span><\/i> set of fancy court clothes, truly a wingman beyond compare. Love his self-satisfied whisker twiddling, another very Lupin flourish<\/span><\/p>\n

\"\"<\/p>\n

Really, for as much as this cat reminds me of Lupin, he\u2019s also revealing how much Lupin is like a cat. Supremely confident and agile, prone to fucking with people just because he can, kinda stupid<\/span><\/p>\n

Pero always moves with such a distinct strut, as if he is approaching for a dance, each leg crossing dramatically over the other. His natural movements strongly imply his confident, somewhat performative personality<\/span><\/p>\n

\u201cEverything will work out? But I\u2019m going against the <\/span>devil<\/span><\/i>, you know?\u201d Pierre has some understandable concerns about Pero\u2019s lackadaisical ethos<\/span><\/p>\n

\"\"<\/p>\n

Though less extreme, the differences between Pero and Pierre call back to the differences between Horus and Hilda – the first all confidence, a clear cartoon character who expresses themselves boldly and physically, the second a somber, anxious character more reminiscent of live-action dramas, with naturalistic character acting to match. Through this dynamic, all of the strengths of Toei\u2019s animators are expressed across these films\u2019 oppositional leads<\/span><\/p>\n

Pierre\u2019s obviously less of a revelation than Hilda, though. With Takahata at the helm, Horus was largely Hilda\u2019s film – Puss n\u2019 Boots clearly belongs to Pero, offering less moral complexity to Pierre\u2019s position and less time for him to ruminate on his feelings. He\u2019s basically just \u201ctimid,\u201d an object Pero has to push through the plot\u2019s hurdles, characterized most significantly through his graceful animation<\/span><\/p>\n

\"\"<\/p>\n

\u201cPierre! It\u2019s time to go on a walk with the princess!\u201d Alright, so this could be a key scene for texturing both Pierre and the princess<\/span><\/p>\n

My god, such smooth movement on this taunting bow by Pero. They definitely varied the drawing count for that one, with the extra in-betweens emphasizing the sense of a labored, sarcastic gesture of deference<\/span><\/p>\n

It\u2019s funny – Miyazaki and Otsuka saw Horus as heralding a new era of human drama in anime, but it was really Pero that ultimately won out, save for occasional outliers created by artists like Miyazaki and Takahata themselves. There\u2019s no one to blame there – children will generally prefer a goofy cat to a depressed princess, and the shape and scope of their entertainment follows suit. But I still have to wonder, what would anime be like if it was Hilda who had become Toei\u2019s enduring symbol instead of Pero? What if Horus, rather than being shorted on its theatrical run, had actually been pushed towards the international festival circuit? An intriguing turning point in the history of the medium<\/span><\/p>\n

\"\"<\/p>\n

Hah, I love the architectural embellishments of Lucifer\u2019s fortress, like this cuckoo clock suspended on a ramshackle tower. Some Toei Doga films are enjoyable simply as parades of fantastical settings, like Little Prince and Gulliver<\/span><\/p>\n

The animators are clearly having a lot of fun with Lucifer as well – his face is like putty, squashed and stretched by his hands as he stares at Rose in ecstasy<\/span><\/p>\n

As Pero conducts a chorus of angel-voiced mice, Pierre confesses he is not truly a duke, and Rose responds that upbringing means nothing to her. Good, I\u2019m glad these kids are finally working out their misunderstandings – and in a way that emphasizes Pierre is defined by his honesty, and Rose by her appreciation of people\u2019s true nature. A key scene for actually selling what Pero is fighting for<\/span><\/p>\n

\"\"<\/p>\n

Another great gag for our tiniest pursuer cat, who gets caught up in the romantic music as the three plan their next abduction<\/span><\/p>\n

Interesting visual effects for this tornado coming to spirit Rose away. It almost looks like they actually scratched the cel, adding to the rough texture of the spinning wind<\/span><\/p>\n

With tears in his eyes, Pierre\u2019s expression at last changes, his mopey upturned eyebrows sloping down and giving a stronger, angular definition to his face. Simple shapes always carry a certain tonal charge; the less \u201cround\u201d Pierre becomes, the more he grows into a man worthy of the princess<\/span><\/p>\n

Lucifer\u2019s castle is delightful! An amalgamation of discordantly extending towers and walkways, like an upside-down octopus waving its stone extremities<\/span><\/p>\n

\"\"<\/p>\n

Oh my god, Lucifer\u2019s got a gramophone with a bone for a needle arm. Fantastic<\/span><\/p>\n

Some nice varied character acting for Rose as she learns of Pierre\u2019s alleged cowardice<\/span><\/p>\n

\u201cWould you not like to demonstrate your strength by transforming into various creatures?\u201d Ahh, where is this one from!? Classic fable regardless, tricking the pompous wizard by flattering him, then capturing him in a form that can\u2019t escape<\/span><\/p>\n

The animators must have had a lot of fun with all these animal transformations. Continuing this film\u2019s overall theme of basically being an animator playground<\/span><\/p>\n

\"\"<\/p>\n

Yep, after a parade of animal transformations, Pero requests a final shift into a mouse<\/span><\/p>\n

Wonderfully smug expressions from Lucifer after he is nearly defeated, but regains his skull necklace magical focus<\/span><\/p>\n

Pierre raises his sword. He has conquered his fears!<\/span><\/p>\n

Unfortunately it seems his fears were well justified, as his sword does nothing to Lucifer<\/span><\/p>\n

And so Lucifer becomes a three-headed dragon. Toei sure love their multi-headed dragons<\/span><\/p>\n

\"\"<\/p>\n

Still room for playful expression work though; love his wounded expression as Rose faints at the sight of his new form<\/span><\/p>\n

Man, it really speaks to this film\u2019s priorities that we reached the \u201cfinal battle\u201d with almost a third of the film still to go. This is a story about action! With the plot largely concluded, it\u2019s a rollercoaster led entirely by physical challenges<\/span><\/p>\n

Lucifer\u2019s dragon actually has some texture to its scales, making me assume it won\u2019t be employed for anything as ambitious as the Little Prince\u2019s dragon – simply too difficult to animate that many scales in motion, as One Piece\u2019s animators have learned over Wano\u2019s dragon-stuffed finale<\/span><\/p>\n

\"\"<\/p>\n

It\u2019s funny, Lucifer\u2019s goofy expressions are so charming that it\u2019s hard to feel particularly threatened by or mad at him. The animators liked him too much to make him truly villainous<\/span><\/p>\n

Ooh, love this sequence of Pierre and Pero reflected in Lucifer\u2019s orb, with the scenery warping around the edges as they float to the entrance of Lucifer\u2019s castle. I wonder if this sequence was by Otsuka – it sort of reminds me of his \u201ctraining\u201d sequence in Gulliver, which employed similar tricks of perspective<\/span><\/p>\n

\u201cIf the sun were out now, I would have disintegrated!\u201d Well, I guess we\u2019ve got our victory condition<\/span><\/p>\n

\"\"<\/p>\n

While Pero loses faith, our mouse leader heroically snags Lucifer\u2019s bone focus. They\u2019re getting significant mileage out of \u201ctiny mouse drags a skull around\u201d<\/span><\/p>\n

The storyboarding amplifies the sense of danger as Pierre scales the castle – lots of high-angle and low-angle compositions, emphasizing the great distance he has to fall if he stumbles<\/span><\/p>\n

This whole sequence is also emphatically Lupin-esque, a chase scene across high towers involving all sorts of bodily contortions to stay grounded<\/span><\/p>\n

With the skull having fallen directly on the dopy pursuer cat\u2019s head, Puss \u2018n Boots has at last achieved its raison d\u2019etre<\/span><\/p>\n

\"\"<\/p>\n

Rose continues to wait on her balcony for Pierre to save her. Obviously the films have very different priorities, but it\u2019s hard not to feel how significant of a step back from Hilda this princess is – not just none of Hilda\u2019s moral complexity, but also basically no agency within the story altogether. This film\u2019s plenty of fun, but Horus was infused with a substance that Puss \u2018n Boots clearly can\u2019t match<\/span><\/p>\n

Oh no, Lucifer destroyed his delightful clocktower! Well, at least it exploded into a very Sherlock Hound-reminiscent array of loose cogs and springs. Miyazaki sure loves making mechanical things collapse and explode<\/span><\/p>\n

\"\"<\/p>\n

Holy <\/span>shit<\/span><\/i> is this an ambitious cut – Lucifer drops his hanging crows\u2019 roost and we see it swing from the inside, the pursuer cats bouncing alongside a pile of individually animated bones as they\u2019re all tossed to and fro. This sort of deeply perspective-oriented cut, wherein the entire composition is actively moving, is a wild departure from the film\u2019s usual style of characters moving along one plane in front of a flat background<\/span><\/p>\n

The rope snaps! Pierre and Rose tumble downward!<\/span><\/p>\n

Lucifer\u2019s castle is a character in its own right – hidden panels, spinning towers, levers that prompt all manner of physical transformations. It\u2019s the kind of secret base you\u2019d dream up as a child, another concept that would carry on from here to Sherlock Hound through Moriarty\u2019s various hideouts<\/span><\/p>\n

\"\"<\/p>\n

Holding himself and Rose aloft through one hand gripping a rope, Pierre manages to swing himself and his princess through a window and back into the castle. Dude has really come into his own over the last twenty minutes<\/span><\/p>\n

Their chase takes them all the way up to the castle\u2019s highest reaches, which appear to include a hollow belltower and an open-air colosseum. Delightful<\/span><\/p>\n

Pierre\u2019s dual with Lucifer is also animated on 2s or 1s, allowing Pierre to look remarkably agile as he dodges and thrusts<\/span><\/p>\n

Lucifer losing his sword facilitates another distinctive sequence, as he holds a cat\u2019s saber daintily between two fingers while dueling Pierre. So much of this film seems driven by the logic of \u201cwhat other fun things can we force these delightfully expressive bodies to do\u201d<\/span><\/p>\n

\"\"<\/p>\n

In contrast, Rose is animated with a fluidity and realism that calls to mind Disney\u2019s early princesses, who were frequently animated to match live-action footage through rotoscoping<\/span><\/p>\n

A fantastic cut as Rose reaches the tower\u2019s summit, panning around her in order to dynamically shift from focusing on her face as she prays for the sun, to peering outwards towards the approaching sunrise. This film is pulling off some remarkably modern-feeling tricks with perspective<\/span><\/p>\n

The castle tumbles as the sun rises, and Lucifer is defeated! But what will become of our tumbling heroes!?<\/span><\/p>\n

Ah good, the crows become a flock of doves and guide them to safety. Close one<\/span><\/p>\n

\"\"<\/p>\n

And Done<\/b><\/p>\n

Goddamn, what a ride! Puss \u2018n Boots offered the most action- and comedy-packed Toei Doga experience yet, filling every loose moment with fanciful character acting, energetic duels, and endless visual gags. While I obviously tend to prefer the sort of poignant, morally ambiguous drama represented by Horus, it is impossible to deny the vitality and virtuosity of Pero\u2019s adventures. Like Castle of Cagliostro, the film is a shining exemplar of animated whimsy and aesthetic ambition from start to finish, demonstrating both the Toei team\u2019s current mastery of character-rich animated acting, as well as the ambitions pushing them towards wild sequences like the finale\u2019s various perspective-shifting cuts. Puss \u2018n Boots is simply a fantastic animated adventure, another key wonder in Toei Doga\u2019s formidable collection.<\/span><\/p>\n

This\u00a0article\u00a0was\u00a0mad<\/a><\/em>e possible by reader support<\/a>. Thank you all for\u00a0all that you do.<\/em><\/strong><\/p>\n\n

Commercials Cooperation Advertisements:<\/b><\/h2>\r\n


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Hello folks, and welcome back to Wrong Every Time. Today I am delighted to announce we\u2019re returning to the venerable films of Toei Doga, this time screening the much-loved Wonderful World of Puss \u2018n Boots, one of the final films \u2026 Continue reading \u2192<\/span><\/a><\/p>\n","protected":false},"author":65,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-container-style":"default","site-container-layout":"default","site-sidebar-layout":"default","disable-article-header":"default","disable-site-header":"default","disable-site-footer":"default","disable-content-area-spacing":"default","footnotes":""},"categories":[25],"tags":[61,122,127,129,124,128,125,132,131,133,126,130,123,66,94,88,97,56,64,65,60,112,40,75,95,104,33,120,105,101,98,115,30,29,41,86,70,69,68,72,71,26,118,108,87,46,55,48,52,54,51,50,83,62,58,57,109,35,59,63,85,79,82,96,80,27,81,114,44,42,43,45,38,39,110,117,100,111,116,73,89,90,92,91,93,84,78,37,102,34,36,25780,77,67,74,99,113,119,28,25781,121,32,47,49,53,103,31,76],"class_list":["post-103221","post","type-post","status-publish","format-standard","hentry","category-anime","tag-airpods","tag-anime","tag-anime-characters","tag-anime-cosplay","tag-anime-edits","tag-anime-merchandise","tag-anime-movies","tag-anime-news","tag-anime-recommendations","tag-anime-reviews","tag-anime-series","tag-anime-streaming","tag-animes","tag-app-store","tag-app-store-samsung","tag-appgallery","tag-appgallery-oneplus","tag-apple","tag-apple-music","tag-apple-tv","tag-apple-watch","tag-bbc-sport","tag-best-mobile-games","tag-bixby","tag-bixby-xiaomi","tag-champions-league","tag-cyberpunk","tag-cyberpunk-2077","tag-fantasy-football","tag-fifa","tag-football","tag-formula-1","tag-fortnite","tag-free-fire","tag-free-mobile-games","tag-freebuds-pro","tag-galaxy-a52","tag-galaxy-note-20","tag-galaxy-s21","tag-galaxy-watch-4","tag-galaxy-z-fold-3","tag-game","tag-games","tag-golf","tag-harmonyos","tag-how-to-backup-iphone","tag-how-to-factory-reset-iphone","tag-how-to-reset-iphone","tag-how-to-restore-iphone","tag-how-to-unlock-iphone","tag-how-to-unlock-iphone-5","tag-how-to-unlock-iphone-6","tag-huawei","tag-ios","tag-ipad","tag-iphone","tag-live-soccer","tag-lol","tag-macbook","tag-macos","tag-mate-40-pro","tag-mi-11-lite","tag-mi-home-security-camera-basic-1080p","tag-mi-home-security-camera-basic-1080p-huawei","tag-mi-smart-band-6","tag-minecraft","tag-miui","tag-mlb-scores","tag-mobile-game-design","tag-mobile-game-development","tag-mobile-game-marketing","tag-mobile-game-monetization","tag-mobile-games","tag-mobile-gaming","tag-nba-scores","tag-nba-standings","tag-nfl","tag-nfl-scores","tag-nhl-scores","tag-one-ui","tag-oneplus","tag-oneplus-9-pro","tag-oneplus-buds-pro","tag-oneplus-nord-ce-5g","tag-oxygenos","tag-p40-pro-plus","tag-poco-x3-pro","tag-pokemon","tag-premier-league","tag-pubg","tag-pubg-mobile","tag-puss-n-boots","tag-redmi-note-10-pro","tag-samsung","tag-samsung-pay","tag-soccer","tag-sports","tag-steam","tag-steeam","tag-the-wonderful-world-of-puss-n-boots","tag-top-10-anime","tag-valorant","tag-when-do-the-iphone-7-come-out","tag-when-does-the-iphone-7-come-out","tag-when-is-the-iphone-7-coming-out","tag-world-cup","tag-xbox-series-x","tag-xiaomi"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/103221","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/users\/65"}],"replies":[{"embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/comments?post=103221"}],"version-history":[{"count":2,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/103221\/revisions"}],"predecessor-version":[{"id":104185,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/103221\/revisions\/104185"}],"wp:attachment":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/media?parent=103221"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/categories?post=103221"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/tags?post=103221"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}