Continue watching after this video to see the film in its entirety.
“It’s bad enough you sell your waking life for-for minimum wage, but now they get your dreams for free.”
Guy Forsyth
Waking Life is a 2001 American experimental adult animated film written and directed by Richard Linklater. The film explores a wide range of philosophical issues, including the nature of reality, dreams and lucid dreams, consciousness, the meaning of life, free will, and existentialism. It is centered on a young man who wanders through a succession of dream-like realities wherein he encounters a series of individuals who engage in insightful philosophical discussions.
The entire film was digitally rotoscoped. It contains several parallels to Linklater’s 1991 film Slacker. Ethan Hawke and Julie Delpy reprise their characters from the 1995 Before Sunrise in one scene. Waking Life premiered at the 2001 Sundance Film Festival, and was released on October 19, 2001, where it received critical acclaim.
All we see and all we seem is but a dream within a dream
By Roger Ebert (2009)
It is hard to say how much of Richard Linklater’s “Waking Life” (2001) is a dream. I think all of it is. His hero keeps dreaming that he has awakened. He climbs out of bed, splashes water on his face, walks outside and finds himself dreaming again. But the film isn’t one of those surrealist fantasies with pinwheels coming out of the hero’s eyes or people being sucked down into the vortex. It’s mostly conversational, and the conversation is all intriguing; the dreamer must be intelligent.
Or perhaps not. Perhaps he’s channeling it from outside. A woman in a coffee shop tells him her idea for a soap opera plot, and he asks her how it feels to be a character in his dream. She doesn’t answer, because how can she, since she’s only a character in his dream? On the other hand, where did she come up with that plot? He tells her he could never have invented it himself. It’s like it came to him in a … no, that doesn’t work. It’s like it came in from outside the dream.
And what is dreaming, anyway? A woman in the film speculates that when we dream, we are experiencing ourselves apart from our physical bodies. After we die, she says, doesn’t it make sense that we would keep on dreaming, but that we’d never stop dreaming because now we were apart from our bodies? No, it doesn’t make sense, I think, because our dreams take place within our physical brains. Maybe not. Maybe we only think they do.
“Waking Life” is philosophical and playful at the same time. It’s an extravagantly inventive film that begins with actual footage of real actors and then translates them into animated images; it’s called motion-capture, and you can see it in “Beowulf” and “300,” but it was startling when Linklater made his film in 2001, and showed it didn’t need to cost millions. A founding member of the Austin, Texas, filmmaking crowd, he collaborated with a software genius named Bob Sabiston, who did it all on Macs. It’s visually bright and alive — a joy to regard.
Maya Deren conceived, directed, and played the central role in Meshes of the Afternoon, her first film that helped chart the course for American experimental, avant-garde, and dadaist cinema. It was shot without dialogue or sound and in black and white. In only 14 minutes this relatively spare format unfolds an unsettling, fully realized narrative which blurs the barrier between the projections of the mindâthoughts, urges, emotions, dreamsâand the external, waking world. Working with her then-husband Alexandr Hackenschmied, Deren sought to make a film that would portray âthe inner realities of an individual and the way in which the subconscious will develop, interpret and elaborate an apparently simple and casual incident into a critical emotional experience.â
âA truly creative work of art creates a new realityâ
Maya Deren
Maya Deren was a Ukrainian-born American experimental filmmaker and important promoter of the avant-garde and dadaism in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer. The function of film, Deren believed, was to create an experience. She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou, symbolist poetry and gestalt psychology in a series of perceptual, black-and-white short films. Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, in carefully planned films with specific conceptual aims. Meshes of the Afternoon, her collaboration with Alexandr Hackenschmied, has been one of the most influential experimental films in American cinema history.
Watch the new official video for The Beatlesâ Here, There and Everywhere by Trunk Animation!
âFollow the band on tour, as they face an ever-changing backdrop of cities, hotels, roads, and gigs, with only each other to rely on. A magical dancer appears to each of them, representing inspiration and creative freedom.â
Rok Predin, Trunk Animation
The Beatlesâ 1966 album Revolver changed everything. Spinning popular music off its axis and ushering in a vibrant new era of experimental, avant-garde sonic psychedelia, Revolver brought about a cultural sea change and marked an important turn in The Beatlesâ own creative evolution. With Revolver, John Lennon, Paul McCartney, George Harrison, and Ringo Starr set sail together across a new musical sea.
Here, There and Everywhere is a song by the Beatles from their 1966 album Revolver. A love ballad, it was written by Paul McCartney and credited to LennonâMcCartney. McCartney includes it among his personal favorite songs he has written. In 2000, Mojo ranked it 4th in the magazine’s list of the greatest songs of all time.
Two hungry castaways encounter Bugs Bunny on a tropical island.
Wackiki Wabbit is a 1943 Warner Bros. Merrie Melodies cartoon, starring Bugs Bunny.
Directed by Chuck Jones
Animated by Ken Harris
Written by Tedd Pierce
Produced by Leon Schlesinger
Musical direction by Carl Stalling
Wackiki Wabbit contains experimental abstract backgrounds and its title is a play on words, suggesting both the island setting of Waikiki and Bugs’ wackiness. Elmer Fudd’s speech pronunciation of “rabbit” is also in the title, although Elmer does not appear in this picture.
This cartoon has fallen to the public domain after United Artists failed to renew the copyright on time.
TheStreet of Crocodiles is a 21-minute-long stop-motion animation short subject directed and produced by the Brothers Quay and released in 1986.
The Street of Crocodiles was originally a short story written by Bruno Schulz, from a story collection published under that title in English translation. Rather than literally representing the childhood memoirs of Schulz, the animators used the story’s mood and psychological undertones as inspiration for their own creation.
Inside a box full of curio, a puppet who is recently freed from his strings explores a dusty and forlorn commercial area. The explorer becomes ensnared into miniature tailor shop by baby-faced dolls.
Directed by Stephen Quay, Timothy Quay, and Weiser Quay.
Water then food. Agriculture then industry. Old then new. Critical then extra. Simple to complex. Concrete to abstract. Dirt to clouds. Real to unreal.
If you donât watch a lot of short films, you might be forgiven for assuming thereâs not much depth or complexity you can fit into a three-minute duration. A comedy sketch or a music video, maybe? But a thought-provoking deconstruction of the evolution of society, thatâs not possible, right? With grand aims of putting human constructs in order, Toby Aubergâs (aka Toberg) Pile attempts just that.
When you picture animations about evolution, your mind will probably (just like mine) immediately go to the image of simple creatures, dragging their basic bodies from the sea, before developing legs and scuttling around on land. Aubergâs short isnât so interested with our biological progression however, much like Hertzfeldtâs 2005 short The Meaning of Life, itâs more focused on our societal progression and how weâve moved from bare survival to the unhinged dystopia of late capitalism.
Beginning at the bottom of his titular pile, Auberg introduces us to his world as we witness humankind just struggling to survive â living in scrappy tents or ramshackle huts, eating only what they catch or grow â before moving his camera upwards and revealing the true intentions of his short. As we travel upwards, the different stages of societal progression literally stacked on top of each other, we experience these rapid developments in living conditions, before entering a crazed finale that paints a provocative picture of the future.
Discussing Pile with Short of the Week, Auberg admits he has difficulty âidentifying a clear source for the filmâs inspirationâ, instead pointing to how his mind often thinks in terms of âmuddled visual metaphorsâ as a major motivator for his premise. Originally coming up with the idea back in 2018, when pre-pandemic politics filled our headspace, the filmmaker (like most of us) was very anxious about the world and so decided to make âa piece that visualised the big âhouse-of-cardsâ that we rest our lives onâ.
Thematically ambitious, Auberg backs up his grand concept with some impressive craft, telling his story in one continual shot, his virtual camera rising through his incredibly detailed tower of humanity. Like the environments he portrays, his animation style develops as we progress. âThe beginning of the film uses more traditional character rigs and ârealisticâ environmentsâ, the filmmaker reveals as I quiz him about his distinct aesthetic. âAs the film progresses the style becomes more distorted and surreal, disconnecting elements and using simulation (dynamics) to animate the world in a more broken and chaotic wayâ, he adds.
Selected to play at Annecy (where it won the 2020 Jury award for a graduation short film), BFI London and Cannes, while Auberg admits heâd âlove it if the film hit a nerve with someone out thereâ, heâs also just happy to have this complicated vision out of his head.
– S/W Curator Rob Munday
Sound design: Ben Goodall
Additional assets: Leto Meade, Jim Cheetham, Matt Taylor, Anita Gill, Linyou Xie, Michelle Brand
This is the second chapter of a three-part story about a man named Bill from the It’s a Beautiful Day trilogy.
A series of dark and troubling events forces Bill to reckon with the meaning of his life —
or lack thereof.
“A masterpiece. I canât even begin to articulate my thoughts about the film but it just gave me shivers and I wasnât able to attend the party after the screening. Just had to be alone. It had this effect on a number of other people here too. Stunning, beautiful, tragic, absurd work.”
– Chris Robinson (Ottawa International Animation Festival)
“I Am So Proud Of You is, I think, as good a pick as any for film of the year. Certainly as good as Synecdoche, NY, and just as full of grand and complex thoughts about life and death and bodily fluids and years rapidly advancing, coming to ends and beginnings, back and forth, over and over, until one slips indistinguishably into the next.”
Sparks official video for the single Perfume from the 2006 album Hello Young Lovers.
Directed by Shaw Petronio
Sparks is an American pop and rock duo, originally formed as a Los Angeles band called Halfnelson in 1967 by brothers Ron and Russell Mael. Known for their quirky approach to songwriting, Sparksâ music is often accompanied by sophisticated and acerbic lyrics, often about women or Shakespearean literature references, and an idiosyncratic, theatrical stage presence, typified in the contrast between Russellâs animated, hyperactive frontman antics and Ronâs deadpan scowling. They are also noted for Russellâs distinctive wide-ranging voice and Ronâs intricate and rhythmic keyboard playing style.
A short surreal experimental animation by YĆji Kuri.
By night green parasites devour humans. A cruel food chain that never ceases, and an eternal repetition of life and death. A grotesque and strange parable drawn by Yoji Kuri. Isao Tomitaâs synthesizer music echoes quietly and eerily.
A film in four parts. In In the Room, a man and a woman in outlandish garb are sitting in a claw-foot bathtub smoking, while the man abuses a doll in various ways. In They Stopped to Think, the filmmaker focuses on a woman trying to position a stool upon which to sit next to a wall. The filmmaker talks in voice-over about filming the scene, and his current relationship with the people shown in the film. The scene shifts to a pier where a man and woman are filmed, playing to the camera. In It Began to Drizzle, a man and woman are lounging in a street-side patio. The scene then shifts to a man and some children doing chalk drawings on the sidewalk, and how others respond to what they are doing. In The Spirit of Listlessness, a man lounging on an urban rooftop is playing with balloons while he plays to the camera.
Outrageous yet tender, the film begins with the skip of a cracked 78 rpm record and a handmade title festooned with streamers and lettered in dripping red. In vignettes continuing in this vein, characters occasionally stumble on glimmers of beauty in their bleak existence: a view from the roof and kids drawing on the sidewalk. The scenes are unsettling in their immediacy. Jacobs embraces the New York City streets as his stage and improvises props and costumes from castoffs. The characters, including Jack Smith and Jerry Sims, are completely at ease with the camera. They cavort, they pose, they affront, and they demand our attention. Like it or not, we are made part of the scene.
For many years Jacobs played 78s at screenings, again transforming poverty into a live-performance asset. A grant from Jerome Hill facilitated by Jonas Mekas enabled Jacobs to add voice-over to the middle section and create a sound print. By this time, his relationship with Smith had soured, and he had lost touch with most of those pictured. Jacob’s narration, presented self-consciously as anything to distract you from talking to each other, acts as a remembrance of things past. The closing vignette, shot on a New York rooftop on a crystalline day, shows Smith clowning with a balloon to the tune of Happy Bird. In Little Stabs at Happiness, moments in the sun do not last.
Ken Jacobs is an experimental filmmaker, who, along with Stan Brakhage, Jonas Mekas, Maya Deren and others, helped spearhead the American avant-garde film movement. His impressive filmography spans more than 60 years and 45 films, utilizing just about every experimental technique imaginable. In the â60s, he helped redefine the notion of domestic (home) movies, and along with it, domestic spaceâpioneering work that expanded the parameters of art cinema, and also, coincidentally, the gender expectations of male artists. Jacobs has also experimented with found footage, creating such memorable works as Star Spangled to Death, a nearly seven-hour epic charting an alternative U.S. history. Most recently, he has been reformatting, reworking, and altering silent films to give illusions of depth, creating experimental, heavily stroboscopic abstract cinema, and 3D. At every stage of his career, Jacobs has sought to push the technology as far as it can go and to challenge his audiences to think about politics, gender, class, race, documentary, and movies differently. This series provides a rare opportunity to see the work of one of the greatest living American filmmakers.
Despite the interest generated by his first film, Tusalava (1929), the early 1930s were a difficult time for artist and animator Len Lye. A series of projects were abandoned through lack of funding, and he supported himself by designing book jackets. By 1934 he was doing relatively menial work in the Wembley studios of Associated Sound Film Industries, while trying to convince investors to back his latest project with his long-time friend and collaborator, Jack Ellitt, provisionally titled Quicksilver. Lye had already produced dozens of set and costume designs for this ambitious science-fiction musical comedy but, although an American producer eventually expressed interest, the film that emerged bore little relation to the original concept, and neither Lye nor Ellitt benefited financially.
In the meantime, Lye turned his attention to puppet animation. He scraped together enough funding and borrowed equipment to produce a three-minute short featuring his self-made monkey, singing and dancing to ‘Peanut Vendor’, a 1931 jazz hit for Red Nichols. The two foot high monkey had bolted, moveable joints and some 50 interchangeable mouths to convey the singing. To get the movements right, Lye filmed his new wife, Jane, a prize-winning rumba dancer. Ellitt assisted in synchronizing the animation with the music.
Lye hoped to use the film to interest advertisers, but again had no success. However, on the strength of the film the head of the newly established Shell Film Unit, Jack Beddington, was later persuaded by Lye’s friend Humphrey Jennings to commission Lye to make a short animated advertising film, The Birth of the Robot (1935).
At the 1986 MTV Video Music Awards, the video for Take On Me won six awardsâBest New Artist in a Video, Best Concept Video, Most Experimental Video, Best Direction, Best Special Effects, and Viewer’s Choiceâand was nominated for two others, Best Group Video and Video of the Year. “Take On Me” was also nominated for Favorite Pop/Rock Video at the 13th American Music Awards in 1986.
Take On Me is a song by Norwegian synth-pop band A-ha, first released in 1984. The original version was produced by Tony Mansfield and remixed by John Ratcliff. A new version was released in 1985 and produced by Alan Tarney for the group’s debut studio album Hunting High and Low (1985). The song combines synthpop with a varied instrumentation that includes acoustic guitars, keyboards, and drums. It is considered to be the band’s signature song.
A-ha released a less slick version of the song in 1984, but redid the tune after it proved to be a commercial flop. And despite releasing a revised rendition in 1985, Waaktaar-Savoy says, âit took, like, four months to reach number one in America. And it felt like years. Every week it would go up a spot, up three spotsâŠ. It would pick up, then slow down. [It] was a whole process.â
They teamed up with director Steve Barron, who directed Michael Jacksonâs Billie Jean, for a short-form piece that mixed live action with rotoscope animation â never before used in a music video. âIt was a dream to work with talent like that,â Waaktaar-Savoy says of Barron. âNormally, videos took a week of shooting in a hangar. But for this, we did a whole day that was only to make the comic magazine. Then four months spent doing hand-drawn drawings. It was very thorough stuff.â Illustrator Mike Patterson drew more than 3,000 sketches for the final clip.
Weezer (2019)
Weezer had teamed with Calpurnia â the indie rock band led by Stranger Thingsâ Finn Wolfhard â for a nostalgic new video for their cover of a-haâs Take On Me. The track appears on Weezerâs self-titled covers record, also known as The Teal Album.
Rabbits is a 2002 series of eight short horror web films written and directed by David Lynch, although Lynch himself refers to it as a sitcom. It depicts three humanoid rabbits played by Scott Coffey, Laura Elena Harring, and Naomi Watts in a room. Their disjointed conversations are interrupted by a laugh track. Rabbits is presented with the tagline “In a nameless city deluged by a continuous rain… three rabbits live with a fearful mystery”.
With the screen split asymmetrically, one part in positive, the other negative, the film documents the evolution of simple celled organic forms into chains of cells then more complex images from tribal cultures and contemporary modernist concepts. The images react, interpenetrate, perhaps attack, absorb and separate, until a final symbiosis is achieved.
“All of a sudden it hit me — if there was such a thing as composing music, there could be such a thing as composing motion. After all, there are melodic figures, why canât there be figures of motion?â
Len Lye
This remarkable animation film was first screened by the London Film Society in 1929. Jack Ellittâs original piano music for Tusalava has unfortunately been lost. The film imagines the beginnings of life on earth. Single-cell creatures evolve into more complex forms of life. Evolution leads to conflict, and two species fight for supremacy. The title is a Samoan word which suggests that things go full circle. In this film Lye based his style of animation partly on the ancient Aboriginal art of Australia. Tusalava is unique as a film example of what art critics describe as âmodernist primitivismâ. In contrast to the Cubist painters (who were influenced by African art), Lye drew upon traditions of indigenous art from his own region of the world (New Zealand, Australia and Samoa).
Despite the interest generated by his first film, Tusalava (1929), the early 1930s were a difficult time for artist and animator Len Lye. A series of projects were abandoned through lack of funding, and he supported himself by designing book jackets. By 1934 he was doing relatively menial work in the Wembley studios of Associated Sound Film Industries, while trying to convince investors to back his latest project with his long-time friend and collaborator, Jack Ellitt, provisionally titled Quicksilver. Lye had already produced dozens of set and costume designs for this ambitious science-fiction musical comedy but, although an American producer eventually expressed interest, the film that emerged bore little relation to the original concept, and neither Lye nor Ellitt benefited financially.
In the meantime, Lye turned his attention to puppet animation. He scraped together enough funding and borrowed equipment to produce a three-minute short featuring his self-made monkey, singing and dancing to ‘Peanut Vendor’, a 1931 jazz hit for Red Nichols. The two foot high monkey had bolted, moveable joints and some 50 interchangeable mouths to convey the singing. To get the movements right, Lye filmed his new wife, Jane, a prize-winning rumba dancer. Ellitt assisted in synchronising the animation with the music.
Lye hoped to use the film to interest advertisers, but again had no success. However, on the strength of the film the head of the newly established Shell Film Unit, Jack Beddington, was later persuaded by Lye’s friend Humphrey Jennings to commission Lye to make a short animated advertising film, The Birth of the Robot (1935).
Synchromy is a 1971 National Film Board of Canada visual music film by Norman McLaren utilizing graphical sound. To produce the film’s musical soundtrack, McLaren photographed rectangular cards with lines on them. He arranged these shapes in sequences on the analog optical sound track to produce notes and chords. He then reproduced the sequence of shapes, colorized, in the image portion of the film, so that audiences see the shapes that they are also hearing, as sound.
McLaren had experimented with this technique for creating notes through patterns of stripes on the soundtrack area of the film in the 1950s, working with Evelyn Lambart. Their technique was based on earlier work in graphical sound by German pioneer Rudolf Pfenninger and Russian Nikolai Voinov.
The creation of Synchromy was documented by Gavin Millar in 1970 in a film called The Eye Hears, The Ear Sees. In McLaren’s production notes, he stated that “Apart from planning and executing the music, the only creative aspect of the film was the ‘choreographing’ of the striations in the columns and deciding on the sequence and combinations of colours.” The film received eight awards, including a Special Jury Mention at the Annecy International Animated Film Festival.
Hans Richter was a German painter, graphic artist, avant-gardist, film and animation experimentalist, and producer. He was greatly influenced by cubism in the 1910s.
Richter believed that the artist’s duty was to be actively political, opposing war and supporting the revolution.
Throughout his career, he claimed that his 1921 film Rhythmus 21 was the first abstract film ever created. However, this is simply not true. He was in fact preceded by German artist Walther Ruttmann, among others. Nevertheless, Richter’s film Rhythmus 21 is considered an important early abstract film by filmmakers and film scholars throughout the world.
Search the Abyss
The Rabbit Hole Archives
Stay Entertained! via email
Demo Reel
{"id":"13","mode":"button","open_style":"in_place","currency_code":"USD","currency_symbol":"$","currency_type":"decimal","blank_flag_url":"https:\/\/hobomooncartoons.com\/wp-content\/plugins\/tip-jar-wp\/\/assets\/images\/flags\/blank.gif","flag_sprite_url":"https:\/\/hobomooncartoons.com\/wp-content\/plugins\/tip-jar-wp\/\/assets\/images\/flags\/flags.png","default_amount":500,"top_media_type":"featured_image","featured_image_url":"https:\/\/hobomooncartoons.com\/wp-content\/uploads\/2018\/03\/cropped-hmc_logo2-200x200.png","featured_embed":"","header_media":null,"file_download_attachment_data":null,"recurring_options_enabled":true,"recurring_options":{"never":{"selected":true,"after_output":"One time only"},"weekly":{"selected":false,"after_output":"Every week"},"monthly":{"selected":false,"after_output":"Every month"},"yearly":{"selected":false,"after_output":"Every year"}},"strings":{"current_user_email":"","current_user_name":"","link_text":"DONATE!","complete_payment_button_error_text":"Check info and try again","payment_verb":"Donate Here!","payment_request_label":"","form_has_an_error":"Please check and fix the errors above","general_server_error":"Something isn't working right at the moment. Please try again.","form_title":"Hobo Moon Cartoons","form_subtitle":"An animated adventure!","currency_search_text":"Country or Currency here","other_payment_option":"Other payment option","manage_payments_button_text":"Manage your payments","thank_you_message":"Thank you for supporting HOBO MOON CARTOONS! Your community animation showcase.","payment_confirmation_title":"","receipt_title":"Your Receipt","print_receipt":"Print Receipt","email_receipt":"Email Receipt","email_receipt_sending":"Sending receipt...","email_receipt_success":"Email receipt successfully sent","email_receipt_failed":"Email receipt failed to send. Please try again.","receipt_payee":"Paid to","receipt_statement_descriptor":"This will show up on your statement as","receipt_date":"Date","receipt_transaction_id":"Transaction ID","receipt_transaction_amount":"Amount","refund_payer":"Refund from","login":"Log in to manage your payments","manage_payments":"Manage Payments","transactions_title":"Your Transactions","transaction_title":"Transaction Receipt","transaction_period":"Plan Period","arrangements_title":"Your Plans","arrangement_title":"Manage Plan","arrangement_details":"Plan Details","arrangement_id_title":"Plan ID","arrangement_payment_method_title":"Payment Method","arrangement_amount_title":"Plan Amount","arrangement_renewal_title":"Next renewal date","arrangement_action_cancel":"Cancel Plan","arrangement_action_cant_cancel":"Cancelling is currently not available.","arrangement_action_cancel_double":"Are you sure you'd like to cancel?","arrangement_cancelling":"Cancelling Plan...","arrangement_cancelled":"Plan Cancelled","arrangement_failed_to_cancel":"Failed to cancel plan","back_to_plans":"\u2190 Back to Plans","update_payment_method_verb":"Update","sca_auth_description":"Your have a pending renewal payment which requires authorization.","sca_auth_verb":"Authorize renewal payment","sca_authing_verb":"Authorizing payment","sca_authed_verb":"Payment successfully authorized!","sca_auth_failed":"Unable to authorize! Please try again.","login_button_text":"Log in","login_form_has_an_error":"Please check and fix the errors above","uppercase_search":"Search","lowercase_search":"search","uppercase_page":"Page","lowercase_page":"page","uppercase_items":"Items","lowercase_items":"items","uppercase_per":"Per","lowercase_per":"per","uppercase_of":"Of","lowercase_of":"of","back":"Back to plans","zip_code_placeholder":"Zip\/Postal Code","download_file_button_text":"Download File","input_field_instructions":{"tip_amount":{"placeholder_text":"To support Hobo Moon Cartoons and community animation please consider submitting a donation! Hey, that rhymes!","initial":{"instruction_type":"normal","instruction_message":"To support Hobo Moon Cartoons and community animation please consider submitting a donation! Hey, that rhymes!"},"empty":{"instruction_type":"error","instruction_message":"To support Hobo Moon Cartoons and community animation please consider submitting a donation! Hey, that rhymes!"},"invalid_curency":{"instruction_type":"error","instruction_message":"To support Hobo Moon Cartoons and community animation please consider submitting a donation! Hey, that rhymes!"}},"recurring":{"placeholder_text":"Recurring","initial":{"instruction_type":"normal","instruction_message":"How often would you like to show your support?"},"success":{"instruction_type":"success","instruction_message":"How often would you like to show your support?"},"empty":{"instruction_type":"error","instruction_message":"How often would you like to show your support?"}},"name":{"placeholder_text":"Name on Credit Card","initial":{"instruction_type":"normal","instruction_message":"Enter the name on your card."},"success":{"instruction_type":"success","instruction_message":"Enter the name on your card."},"empty":{"instruction_type":"error","instruction_message":"Please enter the name on your card."}},"privacy_policy":{"terms_title":"Terms and conditions","terms_body":null,"terms_show_text":"View Terms","terms_hide_text":"Hide Terms","initial":{"instruction_type":"normal","instruction_message":"I agree to the terms."},"unchecked":{"instruction_type":"error","instruction_message":"Please agree to the terms."},"checked":{"instruction_type":"success","instruction_message":"I agree to the terms."}},"email":{"placeholder_text":"Your email address","initial":{"instruction_type":"normal","instruction_message":"Enter your email address"},"success":{"instruction_type":"success","instruction_message":"Enter your email address"},"blank":{"instruction_type":"error","instruction_message":"Enter your email address"},"not_an_email_address":{"instruction_type":"error","instruction_message":"Make sure you have entered a valid email address"}},"note_with_tip":{"placeholder_text":"Your note here...","initial":{"instruction_type":"normal","instruction_message":"Attach a note to your tip (optional)"},"empty":{"instruction_type":"normal","instruction_message":"Attach a note to your tip (optional)"},"not_empty_initial":{"instruction_type":"normal","instruction_message":"Attach a note to your tip (optional)"},"saving":{"instruction_type":"normal","instruction_message":"Saving note..."},"success":{"instruction_type":"success","instruction_message":"Note successfully saved!"},"error":{"instruction_type":"error","instruction_message":"Unable to save note note at this time. Please try again."}},"email_for_login_code":{"placeholder_text":"Your email address","initial":{"instruction_type":"normal","instruction_message":"Enter your email to log in."},"success":{"instruction_type":"success","instruction_message":"Enter your email to log in."},"blank":{"instruction_type":"error","instruction_message":"Enter your email to log in."},"empty":{"instruction_type":"error","instruction_message":"Enter your email to log in."}},"login_code":{"initial":{"instruction_type":"normal","instruction_message":"Check your email and enter the login code."},"success":{"instruction_type":"success","instruction_message":"Check your email and enter the login code."},"blank":{"instruction_type":"error","instruction_message":"Check your email and enter the login code."},"empty":{"instruction_type":"error","instruction_message":"Check your email and enter the login code."}},"stripe_all_in_one":{"initial":{"instruction_type":"normal","instruction_message":"Enter your credit card details here."},"empty":{"instruction_type":"error","instruction_message":"Enter your credit card details here."},"success":{"instruction_type":"normal","instruction_message":"Enter your credit card details here."},"invalid_number":{"instruction_type":"error","instruction_message":"The card number is not a valid credit card number."},"invalid_expiry_month":{"instruction_type":"error","instruction_message":"The card's expiration month is invalid."},"invalid_expiry_year":{"instruction_type":"error","instruction_message":"The card's expiration year is invalid."},"invalid_cvc":{"instruction_type":"error","instruction_message":"The card's security code is invalid."},"incorrect_number":{"instruction_type":"error","instruction_message":"The card number is incorrect."},"incomplete_number":{"instruction_type":"error","instruction_message":"The card number is incomplete."},"incomplete_cvc":{"instruction_type":"error","instruction_message":"The card's security code is incomplete."},"incomplete_expiry":{"instruction_type":"error","instruction_message":"The card's expiration date is incomplete."},"incomplete_zip":{"instruction_type":"error","instruction_message":"The card's zip code is incomplete."},"expired_card":{"instruction_type":"error","instruction_message":"The card has expired."},"incorrect_cvc":{"instruction_type":"error","instruction_message":"The card's security code is incorrect."},"incorrect_zip":{"instruction_type":"error","instruction_message":"The card's zip code failed validation."},"invalid_expiry_year_past":{"instruction_type":"error","instruction_message":"The card's expiration year is in the past"},"card_declined":{"instruction_type":"error","instruction_message":"The card was declined."},"missing":{"instruction_type":"error","instruction_message":"There is no card on a customer that is being charged."},"processing_error":{"instruction_type":"error","instruction_message":"An error occurred while processing the card."},"invalid_request_error":{"instruction_type":"error","instruction_message":"Unable to process this payment, please try again or use alternative method."},"invalid_sofort_country":{"instruction_type":"error","instruction_message":"The billing country is not accepted by SOFORT. Please try another country."}}}},"fetched_oembed_html":false}
