Snowdrop - Commentary

Embarking on animation pushed my limits as a storyteller. Though tough at many stages, particularly in balancing narrative with the time available to make it, the production of Snowdrop was a fascinating and enriching experience, creating a passion for animation which will go beyond this project.

The narrative was ultimately cut down to quite a simple tale as the focus on the animation and sound design took hold. It is a deeply personal film that can be universally experienced.

Where, of course, there was a great deal of technical learning with the animation software, here, reflections shall focus on covering vital inspirations informing the aesthetic choices of the animation, touching upon their efficacy with audience reception.

The Last Man (Shelley, M.W., 2004), Metro 2033 (Glukhovsky, D., 2007) and The Electric State (Stalenhag, S., 2017) all formed as core inspirations for this project in their world building and post-apocalyptic themes. A culmination of classic and contemporary portrayals of the post-apocalypse imbued the design aesthetics of the world which my brother and I endeavoured to create, intending it to be the external reflection of one’s internal existential strife: facing loss and the journey through it. The Last Man specifically, is considered the first major novelisation of the subject, foundational to all contemporary apocalyptic fiction. Insightfully described by Dr. Pamela Bickley (2004) in the introduction, the apocalypse was the extension of Shelley’s woes and likewise, the personal struggle was epitomised by Snowdrop’s central protagonist. Nowadays, fixation on the specifics of the apocalypse has often over-shadowed this fundamental part of storytelling (Bickley, P., 2004). An extensive narrative was eschewed in favour of immersing the viewer in the protagonist’s world – a reflection of inner desolation.

The fusion of classic and contemporary depictions permeated throughout the project; from The Last Man’s use of plague in ending civilisation, to how life was shown to have deteriorated in The Road (Dir. John Hillcoat, 2009). In each case, by keeping the cause of the apocalypse ambiguous, there is an emphasis on the absurdity of destruction (Paley, M.D., 1986), most likely self-inflicted by humanity. A point made more poignant by the redemption of planting the snowdrop, of a soul healing itself after the trauma it has endured.

Animation was ideal for bringing such vision to the screen with a student budget. A McLaren-inspired use of abstract animation within the nightmare scene showcased its deconstructive and transformational potential (Paakspuu, K., 2021). This, with The Zone of Interest’s (Dir. Jonathan Glazer, 2024) use of infrared shots in deconstructing the unseen, was used in the black and white segments in exposing the psyche of the protagonist within the world, exploring the dark inner tunnels. Initial concerns arose regarding such stylistic shifts, however it befitted Snowdrop’s exploratory intentions and the abstractness afforded by the medium. Fellow peers praised this shift, with the transformative tone of animation kernel to those plaudits.

Further integrating old and new, pencil drawings, combined with animation software, in a metatextual sense, harnesses the timelessness of apocalypse fiction (Paley, M.D., 1986). The pain of losing what was, is universal, conforming to the principle that the consciousness of death produces the most intense apprehension of sublime terror (Burke, E., 1990). This morbidity becomes intrinsically enthralling for an audience and represents a unique aesthetic experience that transcends conventional notions of beauty and terror.

The more stylised nature of comic animation was enhanced by the soundscape, bridging between frames (Choi, Y.M. and Seong, R.A., 2002) to engross the viewer. The sound explores self-reflexivity and shifts in subjectivity (Whittington, W., 2007) and was essential in creating an experience both unique and universal, making it uncanny but familiar enough to raise curiosity and mystery, leading the audience on a journey with the protagonist, strengthening their bond and fostering empathy on this trek from the depths of desolation.

Taking a Chion principle, the same sound was used in different contexts to produce differing reactions (Chion, M., 1994). Sounds of nature were then used in the nightmarish sequences but warped and subverted, intended to subtly keep the viewer’s mind perpetually uneasy. A Freudian need to return to the womb arises; yet even in the womb, the sound penetrates the safeguarding walls. The undulating, guttural hums of what once was evoke the desperate need to ensconce the mind and yet it is synthesised; electronic intrusion demonstrates how even such a sacred spot in the human psyche is encroached upon by grief and existential woes.

Upon discussion with my peers, it appears as though it was too indiscernible amongst all the other sounds. Therefore, to act on this feedback, I would strengthen this element, layering such sounds above and placing more emphasis on them to really drive the protagonist’s journey through this bleak and dead world to the forefront, also bolstering that deconstructive component of animation, of taking the benign and abstracting it to fulfil the depiction of emotional decay.

Whilst the animation speaks for itself, this reflection should elaborate on the creative ethos behind the production. Though the works of apocalyptic fiction now seem commonplace, the aim of this work, through such a focussed personal effort and infusion of literary sources, was to make a film to stand unique among many.

The strength of vision and inspiration between me and my brother were what united us in making the animation: a personal journey, an exorcism almost of dread and anxiety. It was this strong collaborative effort, with the above inspirations and ideas shared between us, that bolstered the core of the piece, helping us to complete the film in a considerably short timeframe, considering the scope, and produced a more visceral and emotional tale.

Taking what has been learnt (especially with the technical aspects not highlighted here due to word limit) there is a personal drive to continue and improve with further projects of similar style. The fundamental inspirations are sown, and now there is a keenness in honing these skills.

Bibliography:

Azéma, M., 2021. Prehistoric Cave Art: From Image to Graphic Narration. Paragraph, 44(3), pp.379-393.

Burke, E., 1990. A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Oxford University Press.

Chion, M., 1994. Audio-vision: Sound on Screen. Columbia University Press.

Choi, Y.M. and Seong, R.A., 2002. A Study on Rhythm and Fidelity of Sound in Animation. Cartoon and Animation Studies, pp.132-151.

Freud, S., 2003. The Uncanny by Sigmund Freud. Penguin Books.

Glukhovsky, D., 2007. Metro 2033. Orion Books.

McCarthy, C., 2006. The Road. Picador.

Paakspuu, K., 2021. Off the Wall with Shchedryk. Interactive Film & Media Journal, 1(2), pp.52-65.

Paley, M. D., 1986. The Apocalyptic Sublime. Yale University Press.

Shelley, M.W., 2004. The Last Man. Wordsworth Editions Limited.

Stalenhag, S., 2017. The Electric State. Skybound Books.

Whittington, W., 2007. Sound Design and Science Fiction. University of Texas Press.

Filmography:

The Road (Director John Hillcoat, 2009)

The Zone of Interest (Director Jonathan Glazer, 2024)

Watchmen Motion Comic (Director Jake S. Hughes, 2008)