Still, Kirkman (also the mastermind behind The Walking Dead) has enough experience in the realm of genre fandom to understand that many observers remain skeptical until they witness the reality firsthand. This might explain why Invincible season 2 takes a direct approach in addressing the challenges of animation through a brilliantly meta and flawless scene.
The seventh episode of Invincible season 2 titled “I’m Not Going Anywhere” commences with Mark Grayson (portrayed by Steven Yeun) and Amber Bennett (played by Zazie Beetz) making an appearance at a comic book convention. While the show doesn’t explicitly identify the event as San Diego Comic-Con, the presence of palm trees and the distinctive architecture of the San Diego Convention Center strongly suggest its resemblance. Following the discomfort of encountering Invincible cosplayers, Mark ventures indoors to have his comic books autographed by one of his beloved writers, Filip Schaff.
As Mark offers up his copy of Seance Dog (a modernization of Science Dog from the Invincible comic), he poses a query to his literary idol: “I gotta ask: when’s the new season of Seance Dog hitting the screens?”
“Are you referring to the show? It’s probably not hitting screens for another year,” Schaff responds. “Apologies, animation is a painstakingly slow process.”
This single interaction alone solidifies Invincible’s acknowledgment of the prolonged hiatus between seasons within its narrative. However, the series takes it a step further by providing an insightful discourse on the various techniques employed to streamline the animation process. The entire dialogue is transcribed below, accompanied by illuminating “stage directions.”
Mark: “I can’t fathom the amount of effort required for those combat sequences.”
Filip (Speaking with his mouth off-camera): “Indeed, those sequences demand considerable time, but we make compromises in other areas to ensure manageability. Have you ever noticed instances where the speaker’s mouth is off-camera, thus concealing the need for lip movement?”
Mark (Hand covering his mouth): “Hmm, I hadn’t picked up on that.”
Filip (With the camera positioned behind his head): “Alternatively, we might switch to a shot from the back of a character’s head during dialogue for the same purpose. Sometimes, a wide shot with a panning motion is utilized. While it gives the illusion of animation, the distance prevents the detection of immobility. The beauty of these scenes lies in their limited animation, allowing for enhanced artwork. Occasionally, the artists get carried away, resulting in a style reminiscent of a different production.”
*SCENE CUT TO MARK LOOKING NOTICEABLY DISTINCT* Filip: “It’s astonishing what can be achieved. Appreciate your visit!”
Mark: “No, thank you! I’ll be scrutinizing season 2 with a keen eye.”