Chris Robinson

While visiting Japan, animation writer Chris Robinson gets lost. Drifting through Tokyo, Hiroshima, and Kyoto, he stumbles into a string of encounters—with mysterious figures like Bob Dylan, Haruki Murakami, sumo wrestlers, and Big Bird, and, by good luck, with Japanese animators both living and dead. Each meeting draws him into a deep, dark, uncanny current of Japanese animation—one that has nothing to do with Godzilla, Akira, anime, manga, or Hayao Miyazaki. The original book, Time Out of Mind, rewrites this history through the artists Robinson meets and studies—Koji Yamamura, Atsushi Wada, Taku Furukawa, Renzo and Sayoko Kinoshita, Maya Yonesho, and many more—while his drifting becomes the method: a travelogue that keeps slipping into something stranger. Times Out of Mind reprints that original book in full, then adds a new section written fifteen years later. Robinson returns to Japan to reopen the same uncanny thread—new conversations, new detours—while figures from the first journey reappear. Along the way he meets artists including Masaaki Yuasa, Kenji Iwaisawa, Sawako Kabuki, Yoriko Mizushiri, and Ryo Orikasa. The result is part travelogue, part memoir, part fiction, and part off-the-map animation history.

While visiting Japan, animation writer Chris Robinson gets lost. Drifting through Tokyo, Hiroshima, and Kyoto, he stumbles into a string of encounters—with mysterious figures like Bob Dylan, Haruki Murakami, sumo wrestlers, and Big Bird, and, by good luck, with Japanese animators both living and dead. Each meeting draws him into a deep, dark, uncanny current of Japanese animation—one that has nothing to do with Godzilla, Akira, anime, manga, or Hayao Miyazaki. The original book, Time Out of Mind, rewrites this history through the artists Robinson meets and studies—Koji Yamamura, Atsushi Wada, Taku Furukawa, Renzo and Sayoko Kinoshita, Maya Yonesho, and many more—while his drifting becomes the method: a travelogue that keeps slipping into something stranger. Times Out of Mind reprints that original book in full, then adds a new section written fifteen years later. Robinson returns to Japan to reopen the same uncanny thread—new conversations, new detours—while figures from the first journey reappear. Along the way he meets artists including Masaaki Yuasa, Kenji Iwaisawa, Sawako Kabuki, Yoriko Mizushiri, and Ryo Orikasa. The result is part travelogue, part memoir, part fiction, and part off-the-map animation history.

Watch Me Jumpstart is a love letter and a jab to the ribs—part memoir, part field guide—from the Artistic Director who spent three decades peering behind the curtain of the Ottawa International Animation Festival. Chris Robinson has watched the medium mutate from spliced film cans and ¾-inch tapes to links and torrents of digital files; from a handful of global showcases to a crowded calendar of festivals; from outsider, DIY voices to an industry that can smooth every rough edge—and sometimes sand away the soul. With his trademark dry bite and disarming honesty, Robinson traces the collisions that shaped his life in animation: the punky spirit that got him hired, the near-disasters that almost sank him, the programs that soared, and the friendships forged at 2 a.m. over cheap wine and weirder shorts. He doesn’t romanticize the past or panic about the future; he simply records what it feels like to stand at the crossroads—again and again—while the art form reinvents itself (AI panic included), and argues for the stubborn, personal, beautifully impractical films that keep the medium alive. Jumpstart is for animators and students, for programmers and critics, and for anyone who ever fell for a film that didn’t care about permission. It’s a backstage pass to the decisions, arguments, and small miracles that turn thousands of submissions into a festival—and a reminder that animation isn’t a genre or a market segment. It’s a messy, human conversation that never stops moving, even when the projector jams.

Watch Me Jumpstart is a love letter and a jab to the ribs—part memoir, part field guide—from the Artistic Director who spent three decades peering behind the curtain of the Ottawa International Animation Festival. Chris Robinson has watched the medium mutate from spliced film cans and ¾-inch tapes to links and torrents of digital files; from a handful of global showcases to a crowded calendar of festivals; from outsider, DIY voices to an industry that can smooth every rough edge—and sometimes sand away the soul. With his trademark dry bite and disarming honesty, Robinson traces the collisions that shaped his life in animation: the punky spirit that got him hired, the near-disasters that almost sank him, the programs that soared, and the friendships forged at 2 a.m. over cheap wine and weirder shorts. He doesn’t romanticize the past or panic about the future; he simply records what it feels like to stand at the crossroads—again and again—while the art form reinvents itself (AI panic included), and argues for the stubborn, personal, beautifully impractical films that keep the medium alive. Jumpstart is for animators and students, for programmers and critics, and for anyone who ever fell for a film that didn’t care about permission. It’s a backstage pass to the decisions, arguments, and small miracles that turn thousands of submissions into a festival—and a reminder that animation isn’t a genre or a market segment. It’s a messy, human conversation that never stops moving, even when the projector jams.

Since his debut in the 1980s, Lewis Klahr has built a mesmerizing and influential body of work, establishing himself as one of the foremost collage animators—or, as he prefers, a “re-animator.” His films explore themes of identity (Altair), childhood (The Pharaoh’s Belt), sexuality (Pony Glass, Downs Are Feminine), memory (False Aging, Daylight Moon, Engram Sepals), Greek mythology (Lethe, Helen of T, 66), and capitalism (Circumstantial Pleasures). These philosophical explorations are often veiled behind the familiar veneer of mid-20th-century American pop culture—drawing inspiration from film noir, melodrama, crime films, popular music, and comic books. Working with an eclectic mix of found imagery—including magazine ads, home movies, contact sheets, pornography, and comic books—along with layered soundscapes, Klahr’s characters drift through fragmented times and spaces, searching for connection and an elusive sense of self. Despite the allure of vivid pop culture references, Klahr’s films resist easy interpretation. His elliptical, dream-like narratives challenge viewers, creating spaces where meaning remains fluid and unresolved. Yet this ambiguity is intentional—Klahr embraces the uncertainty between his work and its audience, inviting exploration over resolution. In Dreaming a Way (of) Life: The Films of Lewis Klahr, award-winning writer Chris Robinson (The Animation Pimp, Unsung Heroes of Animation, Earmarked for Collision) offers the first full-length study of this prolific and influential collage animator. Through insightful analysis, Robinson unveils the depth and complexity of Klahr’s artistic vision, guiding readers into the magic and mystery of his cinematic universe. Key Features: First in-depth study of the work of American collage artist, Lewis Klahr Mixed biography with philosophical influenced approach to the major themes of his work Introduction of important experimental and independent animation figure that shows readers animation beyond typical industry fare.

Phil Mulloy is the punk bluesman of animation. His films are raw, minimalist, and ferociously satirical—short bursts of crude brilliance that confront the hypocrisies of religion, nationalism, masculinity, and class with uncompromising rage. If Disney represents the heart of animation, then Mulloy is its bowels—unafraid to reveal the grotesque underbelly of human nature. With thick black lines, stick figures, and penis-nosed characters, Mulloy’s deceptively primitive style delivers scathing critiques of modern society. He broke onto the scene in the 1990s with the blistering Cowboys series, followed by subversive classics like The Sound of Music and The Ten Commandments. In the 2000s, he pushed further with the sci-fi-influenced trilogy Intolerance and the deeply polarizing yet groundbreaking feature and short series The Christies. This book traces Mulloy’s singular career—his shocking early shorts, experimental features, and recent return with potent works like Endgame and Once Upon a Time on Earth. Part biography, part critical reflection, and part personal journey, Raw Outrage explores how Mulloy’s work remains urgent in an age where animation often plays it safe. Award-winning writer Chris Robinson guides readers through Mulloy’s world with his usual passion, insight, and irreverent humor. What emerges is a portrait of an artist who refuses to be polite, whose films challenge, provoke, and endure.

The Scouting Game brings us the inside story of the hidden world of top-level football scouting from a man with 30 years’ experience in the professional game, and more than a decade in the recruitment team at Chelsea FC’s renowned academy. Chris Robinson reveals how scouts work, what they look for and how they report on players, giving practical examples. He sets out the ideal characteristics that scouts search for in every position, and examines scouting at all levels – grassroots, academy, first team and opposition scouting. Chris explains how scouts interact with agents and what parents can expect from scouts and the professional academies, including how trials work and the developing role of data in scouting. He also considers scouting as a career, pointing out the pros and cons and explaining how to get started. With a fascinating insight into one of the hidden corners of the game, this book lifts the lid on the secretive world of top-level talent-spotting.

One of the most acclaimed writers in animation returns with this informal sequel to his previous books on indie animation, Unsung Heroes of Animation, Animators Unearthed, and Mad Eyed Misfits. In this collection, award-winning writer, Chris Robinson, looks at a wide range of films, topics (sex, censorship, cultural politics, programming, felt, gifs, VR, dogs) and filmmakers (Masaaki Yuasa, Xi Chen, Gil Alkabetz, Jacques Drouin, Bordo, Rosto, Joaquín Cociña, Cristóbal León, George Schwizgebel, Lizzy Hobbs, Andreas Hykade, Leah Shore, and many others). Eclectic, brief, fiery, and opinionated, Robinson’s gonzo-tinged writing will amuse, confuse, annoy, and maybe even inspire while, hopefully introducing readers to the wonders of independently-produced animation.

Since his debut in the 1980s, Lewis Klahr has built a mesmerizing and influential body of work, establishing himself as one of the foremost collage animators—or, as he prefers, a “re-animator.” His films explore themes of identity (Altair), childhood (The Pharaoh’s Belt), sexuality (Pony Glass, Downs Are Feminine), memory (False Aging, Daylight Moon, Engram Sepals), Greek mythology (Lethe, Helen of T, 66), and capitalism (Circumstantial Pleasures). These philosophical explorations are often veiled behind the familiar veneer of mid-20th-century American pop culture—drawing inspiration from film noir, melodrama, crime films, popular music, and comic books. Working with an eclectic mix of found imagery—including magazine ads, home movies, contact sheets, pornography, and comic books—along with layered soundscapes, Klahr’s characters drift through fragmented times and spaces, searching for connection and an elusive sense of self. Despite the allure of vivid pop culture references, Klahr’s films resist easy interpretation. His elliptical, dream-like narratives challenge viewers, creating spaces where meaning remains fluid and unresolved. Yet this ambiguity is intentional—Klahr embraces the uncertainty between his work and its audience, inviting exploration over resolution. In Dreaming a Way (of) Life: The Films of Lewis Klahr, award-winning writer Chris Robinson (The Animation Pimp, Unsung Heroes of Animation, Earmarked for Collision) offers the first full-length study of this prolific and influential collage animator. Through insightful analysis, Robinson unveils the depth and complexity of Klahr’s artistic vision, guiding readers into the magic and mystery of his cinematic universe. Key Features: First in-depth study of the work of American collage artist, Lewis KlahrMixed biography with philosophical influenced approach to the major themes of his workIntroduction of important experimental and independent animation figure that shows readers animation beyond typical industry fare.

Collage art and film date back to the early 20th century (the earliest collages have roots in 12th-century Japan). It was rooted in the age of consumerism where artists addressed an array of political and social issues by creating a carefully crafted collision of pre-existing images and sounds to generate new meanings and commentaries on the surrounding world. Collage has also pushed the boundaries of animation, by incorporating other artistic forms (e.g., photography, live action, experimental cinema, literature, found sound) while exploring an array of social, cultural and political issues. In Earmarked for Collision, award-winning writer Chris Robinson (The Animation Pimp, Mad Eyed Misfits, Unsung Heroes of Animation) takes us on a tour of the history of collage animation, cataloguing the collage works of notable artists like Larry Jordan, Harry Smith, Stan Vanderbeek, Terry Gilliam, Janie Geiser, Martha Colburn, Lewis Klahr, Run Wrake, Lei Lei, Kelly Sears, Jodie Mack, and many, many others.

From an all-star cast of creative talents comes a volatile, genre-defying homage to hip-hop icon Ol' Dirty Bastard that reimagines New York City's Five Boroughs through the eyes of the maverick MC and Wu-Tang Clan co-founder. In a fractured New York City, an elemental impact event has caused different versions of the city’s most infamous neighborhoods from across the multiverse to converge together into a single reality. Spectral apparitions now haunt the streets of Queens. In the Lower East Side, a rogue artificial intelligence has seized the streets. A hundred blocks north, time travelers are throwing a block party in Harlem. And that’s only the beginning. . . . Our guide through this splintered mutation of New York’s past, present, and future is none other than Ol' Dirty Bastard himself. Follow him as he leads us through odd, urgent, and powerful tales that cast freedom and oppression, wealth and poverty, love and loss, and even life or death like so many dice in a cosmic game of chance. Created in partnership with Four Screens and officially authorized by the Ol’ Dirty Bastard estate, this taunt and turbulent graphic novel features contributions from an epic cast every bit as sprawling as the city within: Troy-Jeffrey Allen (Chuck D’s Apocalypse 91: Revolution Never Sleeps), Paris Alleyne (Miles Morales: Spider-Man), David Brame (MediSIN), Dojo Gubser (Rot8ion), Jay Hero (Green Lantern), Maan House (Bloodborne), Mike Del Mundo (Avengers), Jason Pierre (CW’s In the Dark), Ike Reed & David Gorden (Rampage Jackson’s Big Brawl), Chris Robinson (Vince Staples’s Limbo Beach), Regine Sawyer (Dark Nights: Death Metal—The Last 52), Damion Scott (Batgirl), Felipe Sobreiro (“Weird Al” Yankovic’s The Illustrated Al), Ron Wimberly (Prince of Cats), and more.

One of the most acclaimed writers in animation returns with this informal sequel to his previous books on indie animation, Unsung Heroes of Animation, Animators Unearthed, and Mad Eyed Misfits. In this collection, award-winning writer, Chris Robinson, looks at a wide range of films, topics (sex, censorship, cultural politics, programming, felt, gifs, VR, dogs) and filmmakers (Masaaki Yuasa, Xi Chen, Gil Alkabetz, Jacques Drouin, Bordo, Rosto, Joaquín Cociña, Cristóbal León, George Schwizgebel, Lizzy Hobbs, Andreas Hykade, Leah Shore, and many others). Eclectic, brief, fiery, and opinionated, Robinson’s gonzo-tinged writing will amuse, confuse, annoy, and maybe even inspire while, hopefully introducing readers to the wonders of independently-produced animation.