5/1/2023 0 Comments Miss minutes![]() ![]() Her performance goes to so many different levels of character, and whether it’s angry or sad or conniving, it was fun to come up with those looks. We had to come up with all those nuances just from a few concept images. How did you go about creating facial expressions for the character? It was really fun to make it almost like a period piece film but in the Marvel Universe. It has a 1950s style but still feels unique, and so that was our Bible in getting the historical feel. There are these propaganda pieces from the 1950s called “A Is For Atom,” which are about atomic energy, and “Destination Earth,” which is about oil and made by the same company. We’d do a design for the Timekeepers in that style, and it seemed too realistic, so we ventured into the style of “The Flintstones,” and that seemed too familiar, so we went for more obscure references. But that was deemed a little bit too kind of kid-sy, so we started looking into something more grown-up, like “Jonny Quest” and Hanna-Barbera cartoons. Early on, Felix the Cat was the style for both the animation of Miss Minutes and the visual style of the propaganda piece. ![]() so we had a back-and-forth about which points can be clear and which can be a little bit more ambiguous and whatnot, so there’s also a back-and-forth with the style. We had to come up with how to make it into a 2D animated version that has a nice clean look throughout.Īt the same time, they’re also working on the script and figuring out what points they want to hit in the video - what is the TVA, how the world works within the Marvel Universe, etc. Marvel basically gave us a rough animatic, with cut together film footage and little clips from old propaganda animations with a voiceover. The propaganda video has become a fan-favorite scene of “Loki.” What was the inspiration behind animating it? So we’re kind of playing those two things against each other, because she is a cartoon character with a more nuanced performance. Instead of having everything be keyframed, we actually did some motion capture to get a little bit more nuance into the role, which is not normal for cartoon characters. When she becomes more sinister than we initially think, she starts getting a bit more naturalistic, a little bit more dramatic. But as you learn more about the TVA, we see her not just as this mascot, especially toward the end of the series when we understand that she knows more about this than we do and she has an agenda of her own. Once she comes into the real world as the holographic portion, she is a little bit more fluid, not quite as steppy, but still in that Felix the Cat vibe for the first few episodes. The first time you see her is in the propaganda video, where we keep it very basic and very steppy. And it was fun to play around with the different ways we could adapt her. ![]() It was fun in general just working on Miss Minutes, who looks very different from any other Marvel cartoon. What was it like creating completely different visuals for the same character? Miss Minutes’ animation style changes throughout the show, from a more hand-drawn vibe to this glowing 3D model. We did a bunch of tests and then focused more on a Felix the Cat-type motion, which is what we ended up with. We also found a lot of different references, earlier animations from the ’20s and ’30s like Betty Boop, which has a much more fluid animation and stretchy arms. They mentioned Felix the Cat as a starting point, which has a very steppy motion - not very fluid. Find some inspiration, do some tests and we’ll start figuring out what the character of Miss Minutes is.” The brief was basically, “Here’s the character, we’re trying to figure out exactly what the movement should be. Marvel gave us two concept images of Miss Minutes and some animatics for different sequences as a starting point for motion. Marvel gave you sketches of Miss Minutes and basically said, “Bring her to life.” Tell me about that process.
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