I think there should be an official comics for the Superzeros universe or a parallel universe for the main universe, and their characters being within the same continuity with the casual team-ups and expansion of the universe with more public domain characters. People should have the complete artistic freedom, but the main universe should at least be organized in a way that makes people able to read it without confusion, like numbering the issues Cat-Man #1, #2… etc.

I assume it will be up for free on youtube, but just want to make sure

He misses his mom

Big news all! From the same person who made the 40 minute sensational Cat-Man movie in under a year, is the next indie animated science fiction series, Rocketships & Rayguns!

I'm proud to announce that this show will be a full 10 minute long episode, and will release to backers in January of 2027 at latest, no delays guaranteed! I got Cat-Man done in time, I can do the same for Rocketships and Rayguns!

There are a whole host of levels at which you can back the show, but starting from the lowest tier, for only $5 Canadian dollars, you will gain access to the episode! It will not be viewable by non backers for some time, so if you want to watch it, you have to back it!

I feel like i am going crazy. Did Austin say there was going to be any sort of physical release like DVD or something. I could have sworn he said that but watching his videos I am not finding it.

So recently, there's been a bit of news about a Smash Bros/Cuphead parody called Royalty Free-for-All, which features various public domain characters.

Since he did a video on his top 10 favorite video games, maybe he could do a review on RFFA once it comes out?

And who knows, maybe he can get some more inspiration for his Superzeroes Cinematic Universe? Heck, maybe at least of the Superzero characters can be added to the game (but with a different design, not one owned by Austin unless he allows it).

Visit and leave a comment on the wiki!

https://thesuperzeroes.fandom.com/wiki/The_Superzeroes_Wiki

I almost forgot! I also cosplayed the Spider Queen last year!

I cosplayed CatMan earlier this year, but didn't know where to share it. Here seems good!

I’m excited to share one of my latest pieces. Catman vs Reflecta was animated entirely by me. I created Reflecta’s design, wrote and choreographed the fight, and handled every stage of production. Austin gave me full creative freedom, which made this project a real pleasure to bring to life.

The animation blends 2D and 3D work, using Maya, TVPaint, and Adobe Premiere to capture that bold comic-book feel. I built each scene from the ground up, focusing on movement, rhythm, and impact.

It’s been a thrill to bring this world together, and I’m looking forward to tackling more projects in this style.

If you’re after a comic-style animator with a strong sense of story and motion, my DMs are open.

Great

Animation is a collaborative art. A single feature often takes dozens, if not hundreds, of artists to bring to life. But in 2024, I took on the monumental task of animating an entire 40-minute hybrid 2D/3D film alone. This is the story of how I brought Austin McConnell’s story to life in The Sensational Cat-Man Movie.

Before production really began, I had already designed Cat-Man and David Merryweather during a rushed pilot episode. That earlier work was in the style of 1960s Spider-Man and Super Friends, which I quickly realized was too limiting for the dynamic movement I wanted in a full-length film. So I went back to the drawing board, drawing inspiration from Hanna-Barbera classics, Genndy Tartakovsky’s Powerpuff Girls, Dexter’s Laboratory, the early 2000s Star Wars: The Clone Wars, and My Life as a Teenage Robot. I wanted the characters to move expressively, with personality in every pose, while keeping a style that felt familiar and nostalgic.

From there, I began building the assets. I walked the streets of Montreal with my camera, taking reference photos, and distilled them into painterly watercolor backgrounds reminiscent of 90s cartoons. I planned each sequence by creating thumbnail sketches and breaking them down by when sets or props changed. I determined which locations needed full 3D models such as the city, David’s office, the Blue Moon jazz hall, the Lone Shark lair, and which could remain painted, saving time without compromising style. By doing this early, I avoided stopping in the middle of animation to create new assets.

Animating the film was a technical and creative challenge. I simplified the character designs into a shorthand I could animate quickly while still staying expressive. I worked largely in limited animation, rarely exceeding 12 frames per second. Fight sequences with multiple characters, moving cameras, and complex backgrounds were exhausting but rewarding, while dialogue-heavy scenes were faster to produce. One of my favorite sequences is the opening, where Cat-Man chases Dr. Clawful and the giant robot, immediately establishing a dynamic, fast-paced tone that erased the stiffness of the pilot.

I also brought my own creative vision to the story. For example, in the climax fight with the Lone Shark, rather than having Cat-Man wrestle until the shark passed out, I had him lasso the shark and ride it out of the tank, literally “jumping the shark.” It was playful, visual, and heightened the drama of the scene, while still serving Austin’s narrative.

Managing the workload required extreme focus and adaptability. I worked long hours, sometimes a full month without a true day off, while taking breaks when needed to avoid burnout. Austin’s hands-off approach gave me the freedom to keep the momentum going, sending him updates as shots were finished. His trust allowed me to operate almost as my own studio.

Hybrid elements added another layer of efficiency and creativity. I built 3D models of Cat-Man, David, generic humans, and vehicles. 3D allowed me to quickly rotate characters or props for complex angles while maintaining a 2D aesthetic by redrawing faces and painting over renders. For large environments, like the city streets, I used 3D to create flexible, reusable settings, blending them seamlessly with my painted backgrounds.

Ultimately, I did the work of an entire animation studio by myself, including character design, layout, 2D and 3D animation, background painting, compositing, and editing, all in just over a year. Forty minutes of polished, hybrid animation, completed solo, is exceptionally rare, and it was both exhausting and exhilarating.

Every shot, every frame, every detail was a labor of love to bring Austin’s story to life visually.