"What I do is draw but if you make an animated feature obviously it takes a whole team of people, and Zippy is my work. I felt that turning it over to a team of people would be wrong"
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There’s a quiet defiance in Griffith’s insistence that “Zippy is my work,” a line that sounds less like ego than like a boundary drawn in ink. He’s naming an uncomfortable truth about cartoons: they look casual, even disposable, but the authorial voice inside them is painstakingly singular. Zippy isn’t just a character to be licensed; it’s a long-running sensibility, a private logic, a rhythm of jokes and non sequiturs that only works because it’s filtered through one person’s hand.
The phrase “obviously it takes a whole team” nods to the cultural prestige of animation while undercutting it. Griffith understands the machinery of an “animated feature” and treats it as a kind of moral hazard: collaboration isn’t neutral when the product is built to scale. A team doesn’t just help execute; it edits, smooths, standardizes. The weirdness gets managed. The jagged edges that make Zippy feel authored get sanded into something “watchable.”
His word choice, “turning it over,” carries the subtext of custody. This isn’t about adapting a strip into motion; it’s about surrendering control to an industrial process that demands compromises in tone, pacing, and intention. Coming from a cartoonist who built Zippy as an anti-brand brand - a critique of consumer culture that still had to survive inside it - the refusal reads like a final joke with teeth: the most faithful adaptation of Zippy may be the one that never gets made.
The phrase “obviously it takes a whole team” nods to the cultural prestige of animation while undercutting it. Griffith understands the machinery of an “animated feature” and treats it as a kind of moral hazard: collaboration isn’t neutral when the product is built to scale. A team doesn’t just help execute; it edits, smooths, standardizes. The weirdness gets managed. The jagged edges that make Zippy feel authored get sanded into something “watchable.”
His word choice, “turning it over,” carries the subtext of custody. This isn’t about adapting a strip into motion; it’s about surrendering control to an industrial process that demands compromises in tone, pacing, and intention. Coming from a cartoonist who built Zippy as an anti-brand brand - a critique of consumer culture that still had to survive inside it - the refusal reads like a final joke with teeth: the most faithful adaptation of Zippy may be the one that never gets made.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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