An Out-of-the-Inkwell Origin Tale

The Ouija Board (1920)
Starring: Max Fleischer and Anonymous Fleischer Studio Employees

Director: Max Fleischer

Rating: Six of Ten Stars

While studio staff members play with a Quija Board, the Animator (Fleischer) draws a haunted house from which the ghostly inhabitants emerge and strike fear in the heart of KoKo the Clown.

 "The Ouija Board" is an early entry in the Out of the Inkwell, a series that merged animation and live-action footage to create situations where our world and the cartoonworld collided in more or less surreal (but always chaotic) ways. Fleischer and his team were clearly still finding their footing with the technology, as the interaction between the animated characters and the live-action footage is minimal, and the rotoscoping of an actor (Dave Fleischer, most likely) that forms the foundation for Koko is more obvious and hamfisted than in future installments.

Although this is by no means the best of the Out of the Inkwell series, it's still lots of fun. The variety of ghosts that emerge from the haunted house have got to be the most diverse group of spooks to ever appear together in a single animated film. Despite Koko's terror and aggression toward them, they are also among the nicest--they even cook him breakfast at one point.

I also found this to be a fun installment in the series because it triggered a thought in my head that may or may not have been the intention of the creators: This was the first time that Koko left his two-dimensional world and entered the three-dimensional one... and it was triggered by the magic (or the curse) of the Ouiji Board the staff members were playing with. This may not have been the first in the series by release date, but in my personal Koko Canon, it's the first time the Animator and his staff encountered living cartoon characters. (Watch their surprise when they spot Koko... and compare it to later episodes where it's commonplace for him to run wild in the studio.)

Maybe someday, I'll do a post with a "suggested viewing order" to tell the complete, epic tale of Koko and the Animator. After all, the entire world is destroyed in one of them, so now I have a beginning and end to the saga.

The overall weakness of "The Ouija Board" can be taken as perhaps the clearest example of my repeated assertions that Walt Disney's Alice in Cartoonland (aka The Alice Comedies) series is an inferior and borderline inept attempt at capturing the magic Fleischer created in Out of the Inkwell. I encourage you to watch the cartoon embedded below, and then click on the link in this paragraph and pick any of the Alice cartoons you'll find there. I would be interested in hearing from anyone who agrees or disagrees with my assessment.

The answer to 'What came first--Koko or the egg?'

Ko-Ko Gets Egg-Cited (aka "Koko's Barnyard") (1926)
Starring: Max Fleischer
Director: Dave Fleischer
Rating: Eight of Ten Stars

Ko-Ko tries to start an chicken farm that bridges the animated and physical world.

"Ko-Ko Gets Egg-Cited" is one of the most fascinating "Out of the Inkwell" installments, and it turns what passes for reality in this world where the cartoon characters cross back and forth easily between their two-dimension existence and our three-dimensional one completely on its head: Usually, it's the Animator (played by Max Fleischer) who brings Ko-Ko and his environment into existence, but here it's Ko-Ko who uses the ink pen to create the Animator (as well as the incubator which become the center of some stop-motion animation sequences in the film's second half).

The antics of Ko-Ko and his pet dog in the animated world are funny, but fairly standard for the series, but the scene where Ko-Ko woos a chicken to get her to lay eggs, and what eventually comes out of those eggs, is equal parts hilarious and horrifying. It's one of the many touches that makes this a must-see, as well as one of the most creative and wildest entries in the entire series. (I didn't think they'd be able to top destroying the world, but they did so with this one!)

Take a few minutes of your day to watch reality break down completely in this masterfully executed short film that mixes traditional animation with stop-motion animation and live-action footage.

Then there's that time the world ended...

Koko's Earth Control (1928)
Starring: Max Fleischer
Director: Dave Fleischer
Rating: Eight of Ten Stars

In 1928, the world was destroyed through the actions a psychopathic cartoon dog that gained that power due to the irresponsible behavior of an animator (Fleischer) and his magic ink. Clearly, some superior being must have stepped in and remade the world, or you wouldn't be reading these words, or be able to click below to watch the video evidence of the horror that unfolded.

Ko-Ko the Clown goes dancing with spooks!

In observance of Friday the 13th, we bring you a haunting cartoon!

Ko-Ko Sees Spooks (aka "Ko-Ko's Haunted Hat") (1925, 1950)

Starring: Max Fleischer
Director: Dave Fleischer
Rating: Seven of Ten Stars

Ko-Ko and his pet dog enter a mysterious house where they alternately fight and party with ghosts.

As with most cartoons starring Ko-Ko the Clown, this is another fun mix of live-action footage and animation--although less than in others and the live action portions aren't central to the going-ons beyond Ko-Ko initially forming from several 13s doodled by Max the Cartoonist. (That opening sequence, plus the head-scratcher, completely random climax are almost entirely disconnected from anything that happens in the main body of the cartoon--except perhaps as a way to logically explain how Ko-Ko at one point is able to make a dozen or more copies of himself.)

The bulk of the cartoon takes place inside a haunted house where Ko-Ko ends up in a number of situations that you'd expect in a place like that. My personal favorite moments is Ko-Ko convincing his dog to go into the haunted house, and then later when Ko-Ko is making time with a female ghost (who is a hottie in his imagination). There really isn't anything here that isn't goofy, nonsensical fun, and I am sure you'll enjoy this spooky little film from beginning to end.

(The version embedded in this post is the 1950 re-release where it was retitled "Ko-Ko's Haunted Hat". It's the best version of this great short film that we could find on YouTube.)

A tale of a clown and his brother

The Clown's Little Brother (1920)
Starring: Max Fleischer
Directors: Max Fleischer and Dave Fleischer
Rating: Six of Ten Stars


A new cartoon character arrives via the mail and springs to life. He quickly outshines the clown created by the Animator (Fleischer), as he can do everything he can--only better!

"The Clown's Little Brother" is one of earliest in a series of shorts that merge animation with live-action footage that would eventually become branded as "Out of the Ink Well". It is the sixth or seventh adventure of a cartoon clown who freely comes and goes between our world and the animated universe he exists it, sometimes to the great frustration of his creator. In fact, this installment is so early in the series  that the clown isn't even formally named yet.

Although it comes at the beginning of the series, all the basics of an "Out of the Inkwell" series can be found here, with cartoon characters leaping off the page and causing--intentionally or not--chaos in the Real World. What's more, we get the sense that the world of Animator is a bit stranger than ours, since he doesn't find it strange that he not only gets a package in the mail with a cartoon character, but someone also sent him a kitten. 

Although this was Early Days for the reality-crashing animated clown, the scenes of him interacting with the Real World in this film are excellent. The Clown's battle against a kitten is impressively executed as many of the action scenes that will follow until the series is retired in 1930. (This is also not the only time Ko-Ko is seen interacting with kittens, and if the short linked here is any indication, he makes his peace with them somewhere along the way.)

The only major complaint I have about "The Clown's Little Brother" is that the purely animated sequences drag on just a little bit too long. We, the viewers, get the point that the Little Brother is more capable in the realm of animated craziness than is the Clown/Ko-Ko, but it gets hammered home to the point where I found myself wishing Fleischer would move on. Maybe a 50+-year-old adult shouldn't be watching these films; maybe the one-upmanship scenes are JUST the right length for younger viewers (or maybe even adult viewers back 100 years ago when this film was made.)

All-in-all, though, I feel the five minutes I spent watching "The Clown's Little Brother" were well spent. I encourage you do click below and check it out, too.

Random cartoon insanity. And Ko-Ko the Clown!

Bed Time (1923)
Starring: Max Fleischer
Director: Dave Fleischer
Rating: Seven of Ten Stars

The Animator (Fleischer), wanting to get a good night's sleep, tries to stop Ko-Ko from escaping into the real world by stranding him on an animated cartoon top. How will Ko-Ko even the score this time?

The "Out of the Inkwell" series were cartoons that mixed live-action footage and animation, telling crazy stories of an Animator either bullying and abusing characters in a cartoon reality, which he partially created through his pen and ink; or telling stories of characters escaping their cartoon world and entering the ours where they either help or hinder human activities, or set out to get revenge for abuse heaped on them by their creator, the Animator.

"Bed Time" starts out like a typical Out of the Inkwell installment--with the Animator taking a someone inexplicable hostile attitude toward the character he brings to life--but it quickly veers into surreal and crazy territory that's beyond even what one can expect from the series. The sequence where an angry Ko-Ko is out to get his revenge on the Animator is fabulous and waaaay over the top!

I'm not going to go into detail about what happens in the roughly nine minutes of unbridled weirdness that is "Bed Time", because this is one of those things that needs to be experienced without too much foreknowledge of what's to come. I will mention, though, that it gets a little too repetitious at times, and it was bad enough that I kept it at a rating of Seven instead of the Eight Stars I was on the verge of giving it. Plus, if you're like me, you may have the feeling that the entire situation in this cartoon could have been avoided if the Animator had taken a different, far easier and straight-forward way to keeping Ko-Ko in check--and be midly irritated by it. However, if you stick with this fun little film until the end, it wraps up in a way that makes those actions seem acceptable.

Take a few minutes and brighten your day with some Ko-Ko driven craziness. The version embedded below is taken from Craig Davison's YouTube Channel, and, if I understand his notes correctly, the sound-effects were added by him. You should swing by and check out his many excellent offerings.

Koko's off the rails while driving the crazy train

KoKo's Toot-Toot (aka"Toot-Toot") (1926, re-released 1950)
Starring: Max Fleischer
Director: Dave Fleischer

Rating: Six of Ten Stars

While traveling by train, the Animator (Fleischer) doodles in his sketch book. His drawings of KoKo the Clown and his pet dog come to life, and soon they are causing train-based havoc in both the animated and real worlds.

"KoKo's Toot-Toot" is another tale where animated characters escape their two-dimensional world to cause chaos in ours. It's not the best I've seen of this series--there are several sequences that go on for just long enough to stop being amusing--but it does have its high points. My favorite bit is where KoKo, after disassembling the sketch of a non-operational train and putting it back together again all wrong but now working, as well as much of the train-ride that follows.

A common weakness that all the Out of the Inkwell shorts seem to share is a lack of a satisfying close to the films. That is mostly the case here, too, but it is also so surrealistic that I can't help but give the filmmakers points for thinking big.

I've embedded the film below for your convenience and viewing pleasure. I believe the version I watched (and featured here) is the one that was aired on Australian television, with added sound effects and soundtrack. I felt the music got a bit tiresome as it looped through the same tune for the third or fourth time toward the end, but you're mileage and tolerance for such things may be higher than mine. I actually found myself wondering if someone has put this 'toon to "Crazy Train" by Ozzy Obourne--which in turn led to finding the "bonus" I've included at the bottom of the post. (Yes, it's two-for-one day here at Shades of Gray!)

And here's a bonus--Ozzy Osbourne's "Crazy Train" performed by cartoon characters!

Ko-Ko vs. the Spider-Creature!

Trapped (1923)

Starring: Max Fleischer

Director: Dave Fleischer

Rating: Six of Ten Stars

After a disagreement about how urgent it is to deal with a mouse in the studio, the Animator (Fleischer) draws a monstrous spider-creature to put Ko-Ko the Clown in his place.

"Trapped" is another fun mix of live action footage and animation, with the fourth wall disintegrating between our world and the animated one. As is often the case, Max the Animator and his creation, Ko-Ko, are at odds over something, but Max seems extra petty this time around. (Watching this one will make you appreciate Ko-Ko's actions better in "The Cartoon Factory".)

When I first watched this "Trapped", I thought Ko-Ko's actions were as badly motivated as the Animator's hostility toward him; Ko-Ko's desire to see that rodent dealt with seemed a bit much--even considering that they're smelly, disease-carrying animals--but then it occurred to me that the mouse was chewing on cardboard and paper, and that Ko-Ko's entire world exists on a foundation of paper. From Ko-Ko's point of view that mouse more than just an annoyance, but something that can literally destroy his world and possibly end his existence. This makes the Animator's reaction seem all the more mean-spirited.

Of course, I could also be overthinking the whole thing, and it's nothing more than the tale of a cartoon clown worrying about a rodent infestation while fighting for his life against a bowler hat-wearing giant spider. Why don't you give me YOUR take after clicking below and spending a few minutes watching some silent movie era cartoon weirdness?

Ko-Ko's Martian Adventure

Trip to Mars (1924)
Starring: Max Fleischer
Director: Dave Fleischer
Rating: Seven of Ten Stars

Over Ko-Ko the Clown's objections, the animator (Fleischer) sticks him in a rocket and shoots it at the moon... but Ko-Ko ends up crashing on Mars instead. Ko-Ko has the last laugh, however, when the animator also ends up in space.

In "Trip to Mars", the Fleischer Brothers once again effectively show off their ability to convincingly make it appear as though animated character Ko-Ko the Clown has leaped from the cartoon universe and into this one. The interactions between him and the live-action Max Fleischer is particularly fun in this one--with the moments when Max picks Ko-Ko up by his collar and puts him inside the rocket that is intended to take Ko-Ko to the moon; and when Ko-Ko and Max are both riding in the "Mars Rover" as the film is careening toward its close.

As impressive as the mixture of live action and animation is in this film (especially when considering its age), it falters a bit when it comes to the story. I'm not sure how I would have ended a short film that features its stars being blasted all the way to Mars via cartoon explosives, but I like to think that if I put my mind to it, I could have come with something better than what we got here; it makes no sense. (And if you watch the film--which you can do, right here from this post--you may say "Miller... you're asking for THAT to make sense? They go to Mars, the run around on the rings of Jupiter, and you want an ending that makes sense?!" And yeah... I would want it to make sense in the context of a world where animated characters emerge from the ink well and interact with human beings, and then return to the ink well. When we get to the end of "Trip to Mars", the rules of that world seem to be violated in a major way. And with that said... I DO see a way that the ending works, but it breaks the fourth wall to a level that even *I* think is a bit much. Or maybe I missed something? Check out the 'toon below and let me know what YOU think of the ending.)

The weak ending aside. "Trip to Mars" is a bucket full of strangeness that's worth the few minutes it'll take to watch it. The purely animated sections where Ko-Ko deals with Martians and their civilization are also a great deal of fun... although I think he would have been happier if he'd run into some of the Martian princesses that are featured every now and then on this blog. Max certainly would have been.

Ko-Ko and Cat Videos -- 1926 style!

It's the Cats (1926/1927)

Starring: Anonymous Voice Actor

Directors: Dave Fleischer and Max Fleisher

Rating: Five of Ten Stars

After the animation studio is closed for the night, Ko-Ko the Clown and his sidekick escape from an ink bottle to put on a variety show for local kittens.

"It's the Cats" is one of many short films from the Fleischer brothers that combines live action footage with animation that starred Ko-Ko the Clown. They were always framed with Ko-Ko emerging from an ink bottle and then eventually returning back to it. The series, and for a brief time the company that produced them, were known as Out of the Inkwell. 

The typical "Out of the Inkwell" short had Ko-Ko bringing the laws of the animated world into the real one, often while interacting with his animator. Here, the only interaction between film and animation happens at the very end when Ko-Ko and his puppy assistant let mice loose for the kittens to chase as the grand finale to their show. Otherwise, all we get are shots of kittens looking at cartoon posters and sitting in chairs, supposedly watching the escaped animations performing on stage. (The kittens do cross over from the real world into the animated ones, as Ko-Ko's theatre--except for the seating--is entirely animated.)

"It's the Cats" is the most disappointing Max Fleischer cartoon from the 1920s/early 1930s that I've watched so far. It opens with a series of repetitive gags involving Ko-Ko putting up posters advertising his show to the kittens. It the proceeds with a series of so-so animated vaudeville style performances, one of which drags on for too entirely too long--a hi-dive act with some amusing visuals but that manages to overstay its welcome--and another very short bit that still manages to grow unfunny due to some looped animation. If I understand the timeline of Max Fleischer's business correctly, this cartoon was made as it was teetering on the brink of bankruptcy and had to be saved by an "angel investor" with whom neither Max or his brother Dave got along. The level of creative effort that went into making this one was probably not as high as the "Out of the Inkwell" installments the preceded it, so the overall outcome is a little lackluster. It's not bad exactly... it just pales in comparison to what came before, as well as much of what would follow in the early 1930s. (Oh... one nitpicky thing that bothered me were to toy cats used to fill chairs in the theatre. Did the Fleischers think the audience wouldn't notice?)

But you can watch "It's the Cats" below and form your own opinion--and I hope you'll share it if it's different than mine!

Trivia: There were two different versions of "It's the Cats" released. First, was a silent version in 1926. It was re-released the following year with a new title card (where the "savior" of Fleisher's operation got top billing) and synchronized music and sound. (Ko-Ko engages in some muttering that could charitably be described as spoken lines.)

'Cartoon Factory' shatters the fourth wall

The Cartoon Factory (1924/1930)
Starring: Max Fleischer
Directors: Max Fleischer and Dave Fleischer
Rating: Seven of Ten Stars

An animator (Fleischer) invents a way to automate the creation of cartoons. This, in turn, leads the animated character Koko the Clown to create a cartoon version of the animator. 

"The Cartoon Factory" doesn't just break the fourth wall--it turns it to dust. Several times over. Not only does Ko-Ko the Clown know that he's a drawing--he's a drawing who understands drawings are just lines that can be put on paper or erased as the creator chooses. And that Ko-Ko can create and erase those lines. It's fascinating to watch Koko go about trying (intentionally or not) to corrupt the animated world he lives in by creating a version of the person who originally animated HIM... and then to watch this creation turn on him, because the creation can never fully become the creator and fiction can never fully escape into reality, nor can reality ever fully merge with fiction. (That's at least the message I took away from this... even if I may be overthinking things.)

I've mentioned before my fondness for cartoons and movies that break the fourth wall in other reviews on this blog, so I enjoyed "The Cartoon Factory" quite a bit. I've seen at least one commentator state that he felt the ending is a result of Fleischers not knowing how to bring the story to a close, but it seems to me that it's simply following the format of the series: Most (if not all) episodes open with Ko-Ko emerging from the animator's inkwell in some fashion, and then returning to it at the end. 

But how about you take a look for yourself, and perhaps let me know your take on this fun fusion of live- and animated-action? You can watch it from this very post, and then use the comments section at the very bottom to sound off.

Trivia: The original version of "The Cartoon Factory" was first released into theaters on Feburary 21, 1924. It was one of roughly 130 silent "Out of the Inkwell" series, all of which combined some degree of live-action footage with animation. (The version embedded in this post, and that forms the basis for this review, was released in 1930 with the soundtrack added.)