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Kim Possible - The Making of


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By Jeep
Alternate Names: 

Kim Possible Argentina / Brazil / France / Germany
Απίθανη Κιμ, (Apithani Kim) Greece
Disney's Kim Possible USA (complete title)
K.P. (Ron)
Kimmie (numerous others)
Kimmy Cub (father)
Bubble Butt (as a baby, mother)
K (Bonnie)
Miss Perfect (Bonnie)
Tin Teeth (Bonnie)
Princess (Shego)
Pumpkin (Shego)
Cupcake (Shego)
Miss Snooty (Shego)
Miss Priss (Shego)



Kim Possible





Kim Possible the Emmy Award-winning American animated television series about a cheerleader teenage, who in her spare time fights the crime to save the world and in the meantime has to deal with other more normal and wordly daily issues for a girl of her age, like family and school. The show is action-oriented, but also has a romantic touch and often lampoons the conventions and clichés of the secret-agent and action genres.

The show was created by Mark McCorkle and Bob Schooley, who worked as entertainment managers at Sesame Place and in the mailroom at DIC Entertainment before embarking on a 16-year career at the Walt Disney Company. The series won positive as well as negative critics since it first aired on June 7, 2002 through its 87 episodes divided into four seasons. Despite common belief, that it is focused mainly for kids, the particularly impressive legion of fans the KP series have, include both children as well as adults, since its fast-pace sitcom like dialogue rhythm puts it in a mid point, without going to any extremes and making it appealing to people of different ages.


Production of Kim Possible
History and evolution
The future of Kim Possible
The age issue
Awards
Trivia

Production of Kim Possible:

The early days of Kim Possible: - The arts behind Kim Possible: - The scriptwriting - Sound and Music - The making of a Kim Possible episode. The step by step development process - Overseas Animation Studios

The early days of Kim Possible:

The creation of Kim Possible lies upon screenwriter Mark McCorkle and screenwriter/producer Bob Schooley, besides of its creation during the entire run, both have served as Executive Producers, Writers and Story Editors of the series. Prior to their work in Kim Possible they co-worked, along with Kim Possible's director Steve Loter on the Emmy Award-winning "Buzz Lightyear of Star Command", another Disney animated science fiction adventure series which can be similarly compared with Kim Possible and aired from October 14, 2000 thru January 13, 2001 and featured Buzz Lightyear, a character who first appeared in the feature film Toy Story.

Mark and Bob had also co-worked in other projects in the past, like the spinoff shows of series like Hercules (1998) and Aladdin (1994), but they were looking for something original, something created from the scratch and that is when the idea of Kim Possible, a girl who can do anything and Ron Stoppable a boy who can't, came to their mind; and from that moment everything snowballed to what is known as the series of Kim Possible.

The creators claim that the initial inspiration of the series came while coming back from lunch discussing about the possibility of creating a new story from the scratch. As they already were in the elevator, somewhere between floors two and three at the Frank Wells building in the Walt Disney Studios, as they tell it; McCorkle looked at Schooley and said, "Kim Possible: she can do anything." Schooley at once replied, "Her partner is Ron Stoppable: he can't do anything;" in a few words she would be cool and he would be funny; and that is how the basic idea of the series was born. The creators also maintain that it was always their intention for Kim and Ron to eventually become involved romantically, instead of remaining best friends. Something that would become reality in the supposed series ending movie "Kim Possible: So the Drama." However, unexpectedly the romantic theme also would continue in season four.

The arts behind Kim Possible:

The idea was already born, now the characters had to be created from the scratch and the rest was the art. It was a pretty ambitious show. The cinematic storytelling was pretty complex, because it followed a kind of sitcom dialogue, but with the huge action set pieces that were really demanding.

The series also featured a retro 50s style of animation, that will be described below.

For the characters design was artist Stephen Silver. So it was in the hand of Silver to give a visual figure to the characters created by McCorkle and Schooley, he is the guy responsible of interpreting the characters and giving them a certain according appearance. Silver is the owner of a successful freelance art studio called Silvertoons, that was established in 1992. In 1997, Stephen got his start in the animation industry at Warner Bros. He later went on to develop the characters for Kevin Smith's Clerks the Animated Series, and now it was time for Kim Possible.

The artistic department staff of Kim Possible included also art director Alan Bodner who had the task of transferring the artistic comic book vision of Silver to an animated visual adventure version.

Graduated from the prestigious Art Center College of Design. Bodner immediately started working on shows like Mighty Mouse, The Fat Albert Show, and Heckle & Jeckle. In 1982, Alan started work with ABC News in New York City as a supervising graphic artist where he contributed to shows such as Nightline and World News Tonight. In 1986 Alan moved back to Hollywood for a long and fruitful relationship with Warner Bros Animation. Once there, he started working on Bugs and Daffy shorts like The Duxorcist, Box Office Bunny, and Invasion of the Bunny Snatchers. It was under the mentorship of the old Looney Toon greats that he achieved tenure and then went on to the Marvin Martian in the 3rd Dimension, Carrotblanca (chosen to appear with the special DVD edition of Casablanca), and Little Go Beep. Then he would move to Miramax Television where he worked on Kevin Smith's Clerks: The Animated Series. After completing his assignment at Miramax, Alan segued to Walt Disney Television Animation where he worked in development and would go on to Kim Possible.

The team included executive producer and director Chris Bailey. The latter was the one who, when first read the script interpreted the story's humor as one in which no matter the situation Kim and the characters had to deal with, there should be always a comedy element around. So to achieve that, Bailey, Bodner and a team of talented artists turned to futuristic designs from the 50s and 60s, where kidney-bean shapes and free flowing lines abound, a retro-modernist view subconsciously associated with humoristic caricatures.

They were mainly inspired on marionette shows like "Thunderbirds", which were set in sceneries where everything looked modern but from the viewpoint people had back in the 50s and 60s. The caricature element on them, was found in the fact that everything had a larger size than in real life, everything was chunkier, thicker, wider, longer or larger; things were also more curved as artists of those times expected the future to look like (i.e. The Jetsons).

Bodner and Baily were also inspired by the furniture books of the 50s as well as by old attraction posters of Disneyland (in Anaheim, Los Angeles); which presented a solid separation between the foregrounds and middle grounds by the use of simple, abstract and silhuetted shapes and designs that created the expected perfect contrast between those foregrounds, middle grounds and backgrounds. Besides of those shapes the sense of depth was also provided by the use of different color values.

Another detail of the artistic animated compilation of the series were the simple and clean designs featured. And for the sake of that simplicity the artists looked for three degrees of values to distinguish characters and backgrounds setup; being a mild black, white and gray. For example, normally KP is outlined by black lines to define her body but when KP is wearing her black action suit on, there is no need to outline her body with white lines to define it from the outside, even if she walks in front of a dark background or she crosses her arms in front of her body, she just disappears, but due to the general simple and clean design provided to the environment, the little brighter parts of exposed flesh of her hands or face allow your brain to fill the the rest of her body and determine where she is located in. The same was applied in many cases for the design of layouts, where due to the key interest of the artists of keeping the whole visual environment clean and simple but still appealing, the color values played a perfect role in establishing a sense of depth and perspective. So there was no need to see every part of an object, sometimes there were parts of them that disappeared completely, merging with the background; however with just a piece of it being seen it was enough to make your brain get that sense of depth required. In some cases, the use of textures was applied also, not to add more detail to the appearance of represented objects but to add the sense of solidity and suggest the feeling of those objects. Despite the somewhat abstract results of the designs, these techniques were valid as long as that perspective and objects' solidity senses were achieved.

Another key factor of the represented environment in Kim Possible was the need of adding some three dimensional elements to the scene, in order to get the required sense of depth in certain cases, especially where the nature of the background or landscape was flat. However, on the other hand it should not nullify the simple designs of the characters and the environment. So Bodner found a way to blend both needs; he saw that the characters needed a bit of three dimensional nature added, making their feet look as planted on the ground and thus give that required sense of space and depth without loosing the general abstract look that prevailed.

With the progression of the show, it got even more simple and abstract (one can easily realize that as the episodes progress) with the use of more abstract shapes and the proclivity of the artists to play with colors in order to get stronger contrasts, to increase the sense of depth. So they pushed the colors of the sky making it range from one extreme of the colors spectrum to the other; it gave also a more funny ambience to the scenes.

Eccentric curved or bean-curved shapes were added also to the environment to get exotic landscapes or images. So you could find strange simple and funny shapes, representing clouds, trees or plants; even if they didn't look like exactly as they look in real life; due to the simplicity of the general art design, they perfectly suggested, implicitly, what they pretended to render, thus achieving that exotic feel the artists were looking for.

Another interesting feature rendered within the backgrounds of the show are the use of two kind of textures in each landscape or environment depicted in order to add a subtle sense of solidity, material or substance behind the character as well as adding some interest to avoid becoming "literally" and extremely abstract. The two types used were a sponge textures or splatter textures and they were added just to a few objects in the scene (two or three at the most), if needed, to give that subtle effect and still sticking to the basic idea of simplicity.

The use of such techniques and quality shift had a beginning with Disney's "Ducktales" in the late 80s, in which the company had invested a lot of money; and later it went even further with Warner's "Batman" series and "Looney Toons"; by 1993 they also made their way to the Video Games industry, with games like Lucasarts' "Day of the Tentacle" and the 1998 "Monkey Island 3".

It is worth of mention the fact that there is a large group of KP's fans that have been initially attracted by the artistic and visual aspects of the series (most of them being amateur and professional artists); while many of them in the end got interested in the story too and turned into full fans. It is rather that harmonic combination of this precise artistic style with KP's humor and story, that no matter the enticing reason either the story or its art, they all become attracted to the show in the end.


Bodner and Baily inspired by the furniture books of the 50s as well as by old attraction posters of Disneyland, made the use of 50s and 60s styles to be notable. The caricature element on them, was found in the fact that everything had a larger size than in real life, everything was chunkier, thicker, wider, longer or larger; things were also more curved as artists of those times expected the future to look like (i.e. The Jetsons).

In this background the palm trees and leaves, although they don't look exactly like their real counterparts, suggest us clearly what they depict, making our minds catch the idea immediately.

In this scene Kim is walking into an underground cave with spikes. As it is clearly shown the triangles suggest us the idea of spikes; however in this case the use of color grades and textures is needed in order to make our minds feel the perception of those triangles representing spikes into a cave. So with the help of color grading techniques to create a depth and shadowed effect, as well as of a textured wall and roof to give it some sense of solidity, the backgrounds designers create the foundations upon which the triangles can lie and make our minds conclude, at least abstractly, that they are defensive spikes of an underground cave.

The scriptwriting:

Regarding the episodes scripts they target a large audience that can be divided into several age groups; tweens can relate to the difficulties Kim faces at school and in her personal life, and they can marvel at her James Bond-esque adventures. Girls will enjoy a strong female character who is shown dynamically at school, at home, and at work. Guys will find Ron to be a witty comic relief (he gets some really clever lines); teenagers may find reflected some similarities of themselves on the characters, who of course have the additional possibility of live some unusual for their ages adventures; while adults will find its fast-paced sitcom-like dialogues rather appealing.

Besides Mark McCorkle and and Robert Schooley, the creators of the series, there is a legion of 25 writers (not including the two creators) who lie behind the scriptwriting of the episodes:

  1. Brian Swenlin (8 episodes, 2002-2007)
  2. Mark McCorkle (7 episodes, 2002-2007)
  3. Robert Schooley (7 episodes, 2002-2007)
  4. Mark Palmer (7 episodes, 2002-2005)
  5. Gary Sperling (5 episodes, 2002-2004)
  6. Kim Duran (5 episodes, 2007)
  7. Laura McCreary (4 episodes, 2002-2004)
  8. Kurt Weldon (4 episodes, 2003-2007)
  9. Nicole Dubuc (4 episodes, 2003-2005)
  10. Thomas Hart (4 episodes, 2003-2004)
  11. Matthew Negrete (4 episodes, 2003-2004)
  12. John Behnke (3 episodes, 2004-2007)
  13. Rob Humphrey (3 episodes, 2004-2007)
  14. Michael A. Newton (3 episodes, 2004-2007)
  15. Kayte Kuch (2 episodes, 2002-2004)
  16. Sheryl Scarborough (2 episodes, 2002-2004)
  17. Patricia Carr (2 episodes, 2002-2003)
  18. Lara Runnels (2 episodes, 2002-2003)
  19. Julie DuFine (2 episodes, 2002)
  20. Madellaine Paxson (2 episodes, 2002)
  21. Amanda Rudolph Schwartz (2 episodes, 2002)
  22. Charleen Easton (2 episodes, 2003-2007)
  23. Greg Weisman (2 episodes, 2003-2007)
  24. Bill Motz (2 episodes, 2003-2004)
  25. Bob Roth (2 episodes, 2003-2004)
  26. Eddie Guzelian (2 episodes, 2003)
  27. Jim Peterson (2 episodes, 2005)

As mentioned before, the story has a particular cleverly formatted plot which makes it equally appealing to both adults, tweens and children. A super-hero girl who attended high school while simultaneously saving the world from science-fiction bad guys would easily drive the minds of many to "Buffy the Vampire Slayer", making them suppose that it is nothing more but a copy inspired on that series, since disguising a product with another lacking of originality is an usual methodology in the fast-pacing Television of our days. But in the case of Kim Possible besides the strikingly attractive arts of the series lies the plot (which is the actual inspiration of the artistic environment) and its witty humoristic elements; a genuinely funny parody of high school life and revolved around a family premise that had some structure. The family in question isn't Kim's natural family, which is a highly functional unit parented by her rocket-scientist father and her brain-surgeon mother. Rather, the show's serious family action is in the assembled "family" of friends Kim has drawn into her crime fighting activities; a group that includes Kim herself; her goofy crime-fighting sidekick and best friend, Ron; his naked mole-rat pet, Rufus and the 10-year-old university graduate Wade who plays tech-geek Charlie to Kim's Angel from his wired bedroom. The show references a vast number of pop-culture cliche's, turning into an excelent self-referential reflecting mirror to many, as the perfect paradigm of contemporary pop-culture; disguised only by a subtle mask of science fiction or children-oriented humour, that can be easily uncovered.

The main emotional driver of the show, derives from the Kim-Ron relationship. Kim is a loving parody of the modern-day alpha-female women style; smart, athletically talented, tough-minded in a crisis, wildly overscheduled and quite sexy to boot; as the very most recognizable tag-line of the show claims that "Kim can do anything". As a matter of fact, Kim is equipped with what it takes to play in the big leagues of modern teen society including serving as head cheerleader of Middleton High School (something that in the common belief of modern culture or subconsciously, we must admit, is considered as tightly linked with popularity), that when you see her spending most of her spare time with her socially less impressive sidekick Ron, it comes across as puzzling. Making many think if this relationship with Ron is just a relic of childhood or if Ron is homosexual or even if he must attribute his personality shaping to his family and environment (a discussion that has arisen in many forums across the network), a question turning out to be in the end another appealing element that may attract an audience that is well over the childhood ages. However, once someone notices how hard the show works to establish that social-outcast Ron is a (heterosexual) individual of considerable substance despite being small, not-athletic and given to wild self-dramatization and that he is actually a clutch player, the riddle becomes clearer. Kim (although apparently unaware of her own behavior) has been patiently waiting for Ron to overcome his ambivalence towards assuming a traditional masculine role and to "make his move". But it becames clear for anyone who followed the show, that as it had progressed, through its four seasons, there had been a deliberate uptick in Kim and Ron's relationship rheostat. A Disney's policy that has had the effect of making the show track the characters' progress through high school from sophomore to graduation in real time; something that unlike other series of the same genre, in which its characters happen to be stuck by a time warp in an eternal period of their lives, it makes the audience feel Kim Possible as more real and close to the line that divides fiction from reality.

Of course to all the above that makes the series appealing to teens and adults it must be added the clear action-adventure element that entices people of younger ages.

So Kim Possible is focused on the blend of "saving the world" as a by-the-way activity on the side while handling the ordinary life of being a high school student. The use of witty dialogue between the characters, the fun revolving around the clichés of villains and action shows. The interactions between each of the hilariously paired characters is really what drives the show; as in the case of the team of Kim and Ron or the humorous tension between benign villains and their very evil counterparts; as in the case of Dr. Drakken and Shego or Senor Junior and Senor Senior. The story created by the writers of this show can be enjoyed on many different levels, which is why it can appeal to such a wide range of age groups.

Sound and Music:

The Kim Possible opening theme "Call me, Beep me" has been composed by Adam Berry, written by Cory Lerios and George Gabriel and performed by Christina Milian.

Christina Milian (born Christine Flores) was born on September 26, 1981 in Jersey City, New Jersey, she is a R&B and pop singer-songwriter, record producer, dancer, and actress. The eldest of three sisters, she moved with her family to Waldorf, Maryland soon after her birth. Milian shot commercials for Wendy's and Honeycomb, and played the lead role in the musical Annie. Milian's mother, realizing her daughter's potential, moved to Los Angeles with her three daughters when Milian was thirteen years old. Milian's father stayed in Maryland and divorced her mother soon after the move. Milian began writing songs at the age of seventeen because she needed a demo to help her obtain a recording contract. According to Milian, every time she recorded a song, the producer would refuse to give her the demo, or would write lyrics that she did not agree with. She felt that she had to write a song, record a demo, and send it out on her own. Milian made her first professional musical appearance on Ja Rule's second studio album "Rule 3:36", performing vocals on the song "Between Me and You". The song was released as the album's lead single in 2000, peaking at number eleven on the Billboard Hot 100, and in the top thirty of the UK Singles Chart. Milian co-wrote and performed backing vocals for the track "Play" for Jennifer Lopez's album J. Lo, and co-wrote "Same Ol' Same Ol'", the first single from girl group PYT's debut album Down with Me. In 2001, Milian released her first solo single, "AM To PM", off her self-titled debut album. It became a worldwide hit reaching the top 5 in the UK and Denmark, top 10 in the Netherlands, and top 40 on the U.S. Billboard Hot 100 and in Australia. The success of "AM To PM" sparked the international release of the Christina Milian album, although not in the U.S. The second single "When You Look At Me" was another international hit reaching the top 5 in the UK, Netherlands, and Ireland and making the top 40 in Denmark, Australia, and France. She was also featured on the track "It's All Gravy", a duet with Romeo of the garage group So Solid Crew. It was another UK top ten hit single in 2002. It was then that she was selected to provide her voice for the series theme song.

By the time Kim Possible was released Adam Berry was already a renowned television and films composer and he was well established in the world of animated television having worked on "Buzz Lightyear of Star Command: The Adventure Begins", Disney's "Hercules" and "South Park" among others.

As the composer of the Kim Possible series, Berry sets the emotional tone with his contemporary mix of rock and pop. He had already worked with the creators of KP, McCorkle and Schoole, in the past, in "Buzz Lightyear of Star Command" and "Hercules", where he developed a great six years relationship with them.

As a scorer he receives a tape of each episode he must score, about a week before the final mix of all the elements (score, sound effects, dialogue and other). He composes the score, and makes a preview tape which is viewed by the producers, director, and sometimes Disney executives, the day before the mix. Then he gets the notes from the producers, director, and executives at Disney. The final phase of the process is making revisions and mixing the score. A particular aspect of scoring Kim Possible is that they don't have a spotting session (a meeting in which the producer, director and composer talk about musical style and cue placement).

Unlike other projects he does which are more orchestral, this show has a mainly guitar based style. This may be attributed to the fact that one of the musical styles discussed first by Berry and the producers during the first season was Max Martin's producing style for Brittany Spears, in which Berry was surprised when in close listening there were some very cool "wah-wah" guitar tracks on some of the songs and he wanted to apply it here. And then when Avril Lavigne became so popular, during the second season of Kim Possible, it was very easy to justify a guitar driven score. The other factor is the clear nod to John Barry's "James Bond" scores.

The writers of "Call me, Beep me" are Cory Lerios and George Gabriel.

Lerios is a pianist and vocalist noted for his fast and flowing style of playing. Before working in KP, Lerios had his first success with rock folk group Stoneground in 1970. After three years in the band, Cory along with guitarist, Dave Jenkins, drummer, Steve Price '"Stoneground"' and bassist, Bud Cockrell '"A Beautiful Day"' decided to form their own band called Pablo Cruise. From 1975 to 1985 the band toured the United States, Canada and Japan extensively, welcoming fans to "Climb Aboard The Good Ship Pablo Cruise." Reaching the top 10 with mega hits like "Watcha Gonna Do?" and "Love Will Find A Way," and several other radio hits, the band went on to sell several million albums and singles collectively and established themselves as well respected writers and performers within the industry. Then Cory decided to turn his writing and producing abilities to Film and Television. In 1986 Lerios landed his first network series, scoring ABC's critically acclaimed "Max Headroom." ABC's "O'Hara" and "Police Story" immediately followed. Writing to "picture" became Cory's newfound passion and in 1989, Cory and partner John D'Andrea landed the theme and underscore for NBC's "Baywatch." Scoring 11 seasons of "Baywatch," garnering several Emmy Nominations, Cory won the coveted award in 1998 for his participation in the music direction of "Days Of Our Lives." He also wrote the themes of Lifetime Television's "Intimate Portrait," (co-written with George Gabriel), Discovery Kids / TLC's "Toddworld," (co-written with George Gabriel).

Gabriel is a multi-instrumentalist composer / musician with a television composing career that started back in 1996 when he started working with the renown news music company Gari Communications. After the next few years, he landed several themes including many National Geographic Channel program themes. In 1999 he joined forces with Cory Lerios and John D'Andrea to score Baywatch Hawaii (the final 2 seasons of the Baywatch episodic franchise). George has also written many themes including, National Geographic's "Surviving Everest," "Extreme Planet," "On The Edge," and "Inside The Pentagon," FOX News Channel's, "Your World with Neil Cavuto," Lifetime Television's "Intimate Portrait," (co-written with Cory Lerios), Discovery Kids / TLC's "Toddworld," (co-written with Cory Lerios) and several other themes. He is also the bassist for the California rock band Pablo Cruise. George joined the band in 2004 after a long working relationship with Cory Lerios. When George and Cory were in New York recording "Could It Be" with Christy Romano for the Kim Possible Movie "So The Drama", George and Cory discussed putting the band back together in its most original form. George and Cory began playing with drummer Steve Price in the fall of 2004 and then added band frontman Dave Jenkins in the spring of 2005. The lineup worked out flawlessly and they began touring in late spring of 2005.

On July 22, 2003 the Kim Possible Soundtrack was released in the United States by Walt Disney Records. The contained songs are used as scores in this toon series, and some songs inspired by the show. Christy Carlson Romano, who provides the voice of Kim, sings a song for the soundtrack, as well as a rap from Ron and Rufus. There are a few popular artists in the soundtrack, including pop and hip-hop artist Aaron Carter and the pop rock band Smash Mouth.

On March 22, 2005 Kim Possible Soundtrack was released as a second improved or "Kim-Proved" version in the United States, featuring "Could it Be" as well as "Rappin' Drakken" and "Call Me, Beep Me!" movie mix from "So The Drama."

The making of a Kim Possible episode - The step by step development process:

Kim Possible was directed by Steve Loter in 35 episodes since 2003 thru the end of the series in 2007 as well as by David Block in 19 episodes during the 2003-2005 period, Chris Bailey in 10 episodes of the 2002-2005 period and Nicholas Filippi in 2 episodes during the 2003-2004. The main director Steve Loter has always had a connection with the fan base, answering questions on message boards and even incorporating ideas from the fan community into the show.

The first process involves the creation of the story that lies upon the scriptwriters who are responsible for the creation of the foundations of the story, the story itself. They are always guided by the executive producers and creators of the series McCorkle and Schooley. The executive producer guides the team depending on the side of the team he/she is in; artistic, animation or story writing. In the case of the creators of KP they are more involved in all the writing part of each episode, focusing on the plot and dialogue. They work with the other writers, checking the progress of creation, the storyboard as well as attending the recording sessions with the voice actors. However they also have some contribution in the visual design of the characters and the backgrounds also; as they have to look and fit exactly with the written story as if they are a capture of what the writers had in their minds when creating the story.

Once the story is written, the dialogues are recorded being supervised by the director Steve Loter and dialog director Lisa Schaffer who also does the characters voice casting. They are recorded by dialogue recordists and then edited and cleaned up by the editors like Robbi Smith. The voices are provided by actors like Christy Carlson Romano who performs the voice of the protagonist Kim Possible, Will Friedle for Ron Stoppable, Nancy Cartwright for Rufus (she known for providing the voice of Bart in the Simpsons), Nicole Sullivan for Shego and Kirsten Storms for Bonnie Rockwaller, among many other actors who bring to life the rest of the characters.

Then comes the storyboard stage, under the guidance of director Loter and storyboard supervisor Nicholas Filippi. That is the transition between the written story to the visual animated version, whereby the artists will try to capture the whole idea of the plot into the animation. Storyboards are graphic organizers such as a series of illustrations or images displayed in sequence for the purpose of previsualizing the animated story. The storyboarding process was developed at the Walt Disney studio during the early 1930s. According to Christopher Finch in The Art of Walt Disney (Abrams, 1973), Disney credited animator Webb Smith with creating the idea of drawing scenes on separate sheets of paper and pinning them up on a bulletin board to tell a story in sequence, thus creating the first storyboard. In animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together. This allows the animators and directors to work out any screenplay, camera positioning, shot list and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how an episode could be shot and cut together. One advantage of using storyboards is that it allows (in film and business) the user to experiment with changes in the storyline to evoke stronger reaction or interest. Flashbacks, for instance, are often the result of sorting storyboards out of chronological order to help build suspense and interest. The process of visual thinking and planning allows a group of people to brainstorm together, placing their ideas on storyboards and then arranging the storyboards on the wall. This fosters more ideas and generates consensus inside the group. Animatics also help to work on the timing. If the story is too fast the viewers don't have time to get involved and if it is too slow they may lose interest.

Storyboard artists along with characters and backgorund designers draw the storyboards which are then assembled by animatic editors, like Peter Kaufmann, to have a rough idea of how the different scenes will look like in a few months from that moment and so create a preliminary caption of it. An animatic is built out of the storyboards matched with the recorded dialog to
work out the timing and pace of the show.

There is a particular case with cut scenes (the ones cut from the finished work) as Steve Loter, the director, mentions in his blog "So the finale"; He entered the team during the second season and his first episode was "The Ron Factor". He was new in the show, so he kept referring back to the work performed by Chris Bailey
back on season one, and in the meanwhile he tried to maintain his own personal
identity. However once completed, he wasn't satisfied with the outcomes. So
McCorkle and Schooley described the 'overlapping dialog' theory was employed on the first
season to get that cinematic feel. So he re-cut the show
to that feel and it was better but not as satisfying as he expected.
After showing it to the executives, they also felt something was not
quite hitting; they mentioned that perhaps the pace was off, but it was
good enough to send into production.


So, on the second episode he worked in, "Naked Genius" (aired first in that season, sometimes production order is not the same with sequential order demanded by the story's timeline); he looked for a way to put his imprint and style in the show. So he decided to sped up the show. He pulled out pauses and breaths within the dialog and everything moved at
a breakneck speed. It was accepted since everyone liked it. However, there was a little problem. Since the scripts were written to a particular length and speeding
everything up made the show much shorter. So they had to use as much of the material they had in order to avoid additional writing and recording inserts during the animatic stage. Resulting in the use of as much as they had available; that leading to a lack of cut scenes from the animatics of
seasons 2 and 3 since they used as much material as they could. But during the start of Season 4, McCorkle and Schooley decided to accomodate the new
timing by writing longer scripts; however it led to the opposite results, the shows were
overlength. So they started cutting out whole
sequences, characters and situations and then re-writing and
re-boarding to make the new edits work. So for season 4 there is a huge amount of footage cut. Actually there is very little of real animation cut from Season 4,
but a lot of animatics with recorded dialog from the cast.


Storyboard artists along with characters and backgorund designers draw the storyboards which are then assembled by animatic editors, like Peter Kaufmann, to have a rough idea of how the different scenes will look like in a few months from that moment and so create a preliminary caption of it. An animatic is built out of the storyboards matched with the recorded dialog to
work out the timing and pace of the show.

After that comes all the artistic process for the development of an episode, behind which lies the art director Alan Bodner.

Under the direction of lead character designer and character developer Stephen Silver the characters are designed to fit each story. The artists, like Silver and Celeste Moreno must catch exactly the characters' expressions, desired by the creators and the writers, from the script and reflect them into the visual world. For inspiration they must pay attention to real world elements such as human movements and expressions at different ages, fashion trends, hair styles, etc.; from magazines, the street, videos, teens in high school, and other places; to later mimic them in the animated story, thus achieving a more realistic and human touch.

The background artists, are involved in the creation of the sceneries, environments and landscapes of the story; that is the stage where the characters play. Backgrounds artists and location designers like Andrew Ice and Alex McCrae, try to keep up with the established style of the series, giving the locations that retro-modernist style of the 50s and 60s that abounds in Kim Possible; with futuristic designs from those decades, where kidney-bean shapes and free flowing lines were the rule. Abstract designs are also a component of the backgrounds and landscape, where sometimes suggestion replaces exact representation of things. For instance, eccentric curved or bean-curved shapes were added also to the environment to get exotic landscapes or images. The use of strange simple funny shapes, suggesting clouds, trees or plants; even if they don't look exactly like the real ones; are common, due to the simplicity of the general art design, they perfectly suggest implicitly what they pretended to render, resulting in an exotic feel that is sometimes needed to pretend mystery or simply depict an exotic location.

Once the characters and the backgrounds are ready they are scanned, digitalized and cleaned up. The later is a process in which drawing smudges or erasures are cleaned up, unwanted line gaps can be automatically closed, it gets rid of small dots left by dark spots on the paper, lint, eraser dust or scanning shadows from the edges of the images.

The process continues with the Ink and Paint stage, where background painters like Nadia Vurbenova and Teri Shikasho who by the use of computer image editors and layering techniques provided by these programs, colorize the designed backgrounds and locations. Keeping up with the dominating simple clean style the artists make use of three degrees of values for the backgrounds. In some cases, the use of textures is necessary, to add a sense of solidity and suggest the feeling of those objects. There are two kind of textures in each landscape, sponge textures or splatter textures which are added to just a few objects in the scene (two or three at the most), if needed, in order to achieve that subtle effect of material or solidity. The artists have also the freedom to play with colors in order to get stronger contrasts, increasing the sense of depth. So they sometimes can push the colors of the sky making it look from green to yellowish or even pink.

There is also the characters' coloring process in which artists like Ally Conley, also with the use of image edition programs, find the most appropriate colors for each scene. They also apply colors psychology for the characters, since the effect of colors on human behavior creates subconsciously the feeling that something may be positive or negative according to its color. Color psychology are culturally constructed linkages that vary with time, place, and culture. However there are some colors that due to evolutionary and biological reasons have a rather common symbology in almost every culture. For instance blue ranges are considered as good ones while red, orange, black or gray as bad ones. That's why in the case of Kim Possible ranges of blue are usually applied on costumes while black or gray tones in the case of Shego; this technique is mainly used when a good and bad character are brought together in the same scene.


As shown in the image the scanned digitalized sketch of the characters is cleaned up; a process in which drawing smudges or erasures are cleaned up, unwanted line gaps can be automatically closed, as well as it gets rid of small dots left by dark spots on the paper, lint, eraser dust or scanning shadows from the edges of the images. Then it is divided into layers so as the sylists can colorize each character by section of their body by flood-fill bucket-like tools.

Once the storyboard, animatics, characters and backgrounds are ready; everything is sent to the animation studio overseas; where they build the raw animation, without sounds effects and music. Kim Possible is mostly animated by Rough Draft Korea and Starburst Animation Studios both in South Korea, while some episodes of season 1 have been animated in Toon City inc. in Philippines.

Rough Draft is the same company which worked on "The Ren & Stimpy Show", "The Simpsons" and "Futurama". It is an animation studio based in Glendale, California, USA with its sister studio Rough Draft Korea located in Seoul, South Korea. It is known for its blending of 2-D with computer animation, or non-photorealistic rendering which it first used on The Maxx and further utilized with Futurama and The Simpsons Movie.

Starburst Animation Studio was established in 1998 in Seoul, Korea, with a team of some 250 animation artists, Starburst produced almost 300 half-hour shows, as well as several theatrical and DVD features. Clients included Nelvana, DreamWorks, Cartoon Network, Walt Disney TV Animation and Marvel
Entertainment.

Toon City Inc., the company that animated some episodes during the first season, is located in Philippines and was founded in April 1993, originally as family business comprising 10 animators to produce Walt Disney Television’s animated TV series “Bonkers”. Since 1994 it took on other Disney TV and films projects.

For the raw animation of each episode these companies make use of non-linear edition programs like Opus, USAnimation, Animo, Avid Xpress Pro and Digicel Flipbook.

Digicel FlipBook is a 2D animation software designed entirely from the ground up to do 2D animation the way professional animators are used to doing it, this application is widely used by professional animators at every major animation studio.

Cambridge Animation System Animo is a 2D animation solution for both Mac OSX and Windows and one of the most populars in the animation world in compositing and ink and paint.

USAnimation, was a high-end software package designed to facilitate the traditional animation process using digital technologies. Then in 1996, USAnimation sold its software development business to Canadian competitor Toon Boom Animation. It later developed into Opus, which is commonly used in the traditional film/TV animation industry. This software contains all the tools required to handle traditional animation workflows from scanning to compositing and 2D/3D integration. Its centralized database system allows he sharing of assets between scenes and enables the workload to be shared efficiently across a studio or even between studios. However, Toon Boom Opus has been discontinued.

In the overseas studios by the use of the aforementioned applications, they do the "Compositing" and animation of the episode. Compositing involves combining characters and backgrounds into the scene and animating the resulting images or frames rendering them into videos.

Finally the scenes are rendered they are sent back to the Walt Disney Studios.

For those wondering why the raw animation process is done overseas, you should check the Overseas Animation Studios chapter of this article.

One of the final stages is picture editing. As the creators in the Walt Disney Studios receive the raw animation from the overseas animation studio they cut, alter, re-time, flop, re-sequence the footage using non-linear edition techniques.

Non-linear editing for film and television postproduction is a modern editing method which involves being able to access any frame in a video clip with the same ease as any other. This method is similar in concept to the "cut and paste" technique used in film editing from the beginning. It can also be viewed as the audio/video equivalent of word-processing. In non-linear editing, the original source files are not lost or modified during editing. Professional editing software records the decisions of the editor in an edit decision list (EDL) which can be interchanged with other editing tools. Many generations and variations of the original source files can exist without needing to store many different copies, allowing for very flexible editing. It also makes it easy to change cuts and undo previous decisions simply by editing the edit decision list (without having to have the actual film data duplicated). Loss of quality is also avoided due to not having to repeatedly re-encode the data when different effects are applied.

Compared to the linear method of tape-to-tape editing, non-linear editing offers the flexibility of film editing, with random access and easy project organization. With the edit decision lists, the editor can work on low-resolution copies of the video. This makes it possible to edit both standard-definition broadcast quality and high definition broadcast quality very quickly on normal PCs which do not have the power to do the full processing of the huge full-quality high-resolution data in real-time.

The series film editing is done by Joseph Molinari, under the guidance of Steve Loter; using edition programs like Avid Xpress Pro; a non-linear editing software aimed at professionals in the TV and movie industry. It was available for Microsoft Windows PCs and Apple Macintosh computers. However on March 17, 2008 it was discontinued.

Sometimes Molinari tries to get closer to the timing previously established in the animatic phase and other times since the raw animation brings a new timing he has to comply with the new pace presented before him, making his best to make it keep up as much as possible with the original defined timing.

This is not an easy task as sometimes Molinari must run accross some chalenges as in the case of the series' last episode which was divided in two parts. As he received the raw footage from Part One of the episode it was pretty well done by Starburst Animation where they followed the boards and the timing, it all seemed to work fine in the beginning. But there was a problem on how to establish the pace and feel of a 2 parter episode without having the second part in his hands? So he had to rely on what was established in the animatic and hope for the best.

When Part Two arrived it was a different situation altogether. If Part One was focused more on a well written dialog and groundwork, Part Two was sort of more apocalyptic. It was massive and loud with characters running around blowing stuff up. It is requiring a strong shared vision to plow forward because there was a lot of 'elements', but little flow. So he put an order on that chaotic scenario, and found the harmonic point between both parts; though he needed two long days of hard work to achieve it.

Once the edition part is over, the episode is "locked" that meaning that there cannot be any changes to the length of the show, that meaning scenes cannot be added or removed at all. After this point some editions can be done like changing some animations on the characters, mistakes are corrected and special effects are added in the digital effects department, but always playing within the established length of each scene.

Once finished the final visual effects and entering post-production stage, the locked DVD with the episode is given to the series sound department to add the music, composed by Adam Berry and call any ADR.

Automated dialogue replacement or Additional dialogue recording (ADR) is a film sound technique involving the re-recording of dialogue after photography. When the film is in post-production, a Supervising Sound Editor or ADR Supervisor reviews all of the dialogue in the film and rules which actor lines will have to be replaced using the ADR technique. The actor providing the character's voice, is called to a sound studio equipped with video playback equipment and sound playback and recording equipment. The actor is shown the film of the line that must be replaced, and often he or she will be played the production sound recording. The film is then projected several times, and the actor attempts to re-perform the line while watching the image on the screen, and reading the script before him/her, while an ADR Recordist records the performances. Several takes are made, and based on the quality of the performance and sync, one is selected and edited by an ADR Editor for use in the finished episode.

Then the episode is mixed at the Advantage Audio studio in Burbank, CA where besides Kim Possible, other shows were mixed too, like "Dave the Barbarian" plus "Danny Phantom" and "Fairly Odd Parents" for Nickelodeon.

The "mix" part is combination of the music, sound effects, dialog and anything else on an audio track and mix the levels. The sound team under the direction of Loter usually previews the sound effects on the previous day. While then the sound mixers, Fil Brown and Melissa Gentry-Ellis, get the levels adjusted for different kind of speakers.

Foley effects are added too. Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props (e.g., a tea cup and saucer), and the rustling of cloth are common foley units.

According to sound designer Paca Thomas, a 22-minute sitcom may have 50 to 60 sound effects, while 22 minutes of animation may have 2,500 to 3,000 sound effects, not including Foley.

Finally when the sound is mixed and production wrapped up, the final playback with the executive producers McCorkle and Schooley is done. Now the episode is officialy finished and ready to be aired. Of course all the above production process is performed a few months before it is aired on TV.

Overseas Animation Studios:

For those wondering why most of the raw animation process of Kim Possible as well as other shows is done in South Korea, it should be noted that since the 80s the animation industry in that country has grown beyond what had to have been the wildest dreams of its early pioneers. Today, South Korea is undoubtedly the largest supplier of television animation in the world. Industry estimates are not always precise, but no one would argue that in peak production years the country's production houses can turn out over a thousand half-hour (22 minute) episodes. While some may argue about the quality of overseas animation, no one has ever turned out the quantity of work to compare to this Asian dynamo.

All begun in 1960 when two men, Mr. Dong Heon Shin and Mr. Chung produced a 6-minute animated short for AFKN (Armed Forces Korean Network) titled I am Water. This small educational film might be called the Genesis of Korean Animation. In 1968 a company, International Art Production, began re-doing a series of single reel shows featuring classic animation characters such as Betty Boop, Krazy Kat, Felix and even Porky Pig. These old theatrical shorts were being copied frame by frame and being reproduced in color. This company was run by Mr. Jeong Yoon Song and Mr. Tayk Kim. Several years later in 1973, the same Mr. Kim would hook up with Steve Hahn and open Dong Seo Animation. Dong Seo is important because it will morph into HanHo which will become a major player in the formative years of Korean animation. However, in 1973, Korean animation was still just beginning and mostly limited to ink and paint work from Japan. The highly competitive and volatile business atmosphere began to form in 1979-80 when Steve Hahn opened his new company, MiHahn. He received work from Ruby-Spears on their show Plastic Man. This work came to him with the help of Jerry Smith, who was trusted by Joe Ruby and Ken Spears. Smith had been sent to Taiwan by Bill Hanna in 1978 to help James Wang set up Cuckoos Nest, but, in what would become a reoccurring theme, he had a falling out there and so was ready to try a new start up in 1980 with Steve Hahn in South Korea.

At the same time, Nelson Shin, another key figure in the story, was starting out and began by making a deal with Depatie-Freleng to bring six half-hours of a show they were producing with The Netherlands to Korea. The show was titled Dr. Snuggle. In 1979, Nelson also brought a Bugs Bunny special for Depatie-Freeling to Korea. Nelson Shin believes he brought the first full show (animation through camera) to Seoul. Others feel Steve Hahn or the late Jerry Smith was first. All in all, it doesn't really matter, as they were all pioneers and helped to get the industry started.

By 1985, the animation industry had become firmly established in Seoul. Jerry Smith had split with Steve Hahn, formed his own company, Take One, closed it and then left the country. Mr. Tayk Kim had left Dong Seo and started his own company called Pion Animation and Nelson Shin was opening a new studio, AKOM, which would eventually become the largest in Korea. Steve Hahn was about to lose his studio, then HanHo, by producing Starchaser, a 3-D theatrical film which would flop and result in his financial backers taking over his studio. From that point on the golden period would begin when animation studios began popping up all over Seoul; Daiwon, Sei Young, AKOM and Saerom, to name a few, were all formed during this period. And finally came the 90s and a new booming era for animation studios in Korea.

The `90s saw a rash of new studios enter the scene. Disney Television brought its shows to a new, bright and aggressive studio called Sun Woo but this didn't work out for long, as Disney wanted exclusivity and Sun Woo wasn't prepared to be tied down in such a growing market. Rough Draft Korea (RDK) started by doing an odd little show called Ren and Stimpy and soon were being sought after as a highly creative studio capable of producing the off-the-wall type productions that Klasky-Csupo and Nickelodeon were developing as their benchmarks. Plus One, Koko (formerly Dong Yang), a revitalized Saerom and Daiwon, along with an ever-expanding AKOM, led the charge into the Nineties with Korea capturing up to 30% of the world market in animation production.

The reason for which the South Korean animation market is so appealing to companies like Disney is because everyone works very hard. Secondly, the studios in Seoul, and there are well over sixty studios listed there alone, have developed a system that relies upon a strong cottage industry for many phases of production. Anywhere from ink and paint to camera, there's someone out there who wants to sub-contract your work if you'll give it to them. Also, almost everyone freelances, or moonlights if you like, and many studios lay off work like a bookie lays off bets when he gets more action than he can handle. A studio may be producing three separate series at the same time and not even have a layout department in house; it will all be freelanced out. While this might be undesirable for an overseas supervisor who wants to see his work come back to him in a smooth flow, this system helps the studios in that it provides decentralized micro-management within each phase of production supplied by each contractor. The larger studios producing the pricey shows maintain full in-studio departments but even they will avail themselves to freelance help when they need it. The bottom line is that over the past fifteen years, Seoul has developed a large and capable work force and a system in which their production efforts can be maximized when needed and downsized when slow.

And how all this system works? It must be noted that Korean animation industry is made up of a relatively large number of studio owners who have no particular interest in animation other than as an investment. These are men and women who have acquired their companies as business enterprises but have no more attachment to their studios than to their plumbing supply house or import/export companies. These business owners often buy into animation studios that need a cash infusion and, more often than not, end up taking over the company from its original owner.

There has also been a trend to form studio groups with one large studio taking smaller studios under its wing and presenting the group as one large holding. A most recent example of this was the Rainbow Animation Studio group (more recently renamed to Galaxy World, Inc.) which was put together by Ted Choi, a Korean business man who lives in Los Angeles and came from the garment business. This system is simply an extension of subcontracting but with the logical twist of doing it openly and telling the client that you own/have control of the smaller studios doing their work. The only problem is that often times, the group is made up of totally separate business entities, with completely different agendas, and the studio doing your work is not being paid a fee that will allow them to produce a solid show. The group is only held together by the main studio's ability to supply everyone shows at a reasonable fee. After a while, inevitably, the small studios grow unhappy with the large studio from which they receive work. The large studio naturally skims a percentage of the client's fees and the studio doing the work feels unappreciated and underpaid. Also, if the show is successful, the large studio takes the bows and egos can be fragile things.


Evolution and history:

The creators of Kim Possible are screenwrtiter Mark McCorkle and screenwriter/producer Bob Schooley, who had co-worked on the Emmy Award-winning Disney's "Buzz Lightyear of Star Command", an animated science fiction adventure series thay aired from October 14, 2000 thru January 13, 2001 and featured Buzz Lightyear, a character who first appeared in the feature film Toy Story. They also co-worked in other projects in the past, like the spinoff shows of series like Hercules (1998) and Aladdin (1994), but they were looking for something original, something created from the scratch and that is when the idea of Kim Possible, a girl who can do anything and Ron Stoppable a boy who can't, came to their mind; and from that moment everything snowballed to what is known as the series of Kim Possible.

They created the initial idea of the series while returning from lunch discussing about the possibility of creating a new original story from the scratch. As they already were in the elevator, somewhere between floors two and three at the Frank Wells building in the Walt Disney Studios; McCorkle looked at Schooley and said, "Kim Possible: she can do anything." Schooley at once replied, "Her partner is Ron Stoppable: he can't do anything." So from the very beginning, Kim was destined to success in everything and Ron doomed to failure but he would hold most of the fun part of the story. Also the intention for Kim and Ron to eventually become involved romantically, existed from the beginning. Something that would become true in the supposed series ending movie "Kim Possible: So the Drama." However, the series would survive another more season than expected, so the romance would develop too during that fourth and last season.

So it was on June 7, 2002 that the series of Kim Possible premiered on Disney Channel in the United States. It featured as protagonists Kim Possible, who also gives her name to the title of the show; Ron Stoppable; Rufus and Wade Load among other.

Kim is a young girl, an athletic superhero, with a rocket scientist father and a brain surgeon mother, called in regularly to foil the nefarious plans of suburban Middleton's (the town where the main characters live) many villains. Besides being a super hero, she is your typical (though popular and charismatic) teenager; a member of the high school's cheerleading team who is not above fretting about such things as passing drivers-ed, preventing her rambuncious younger brothers from driving her crazy, and dating.

Ron Stoppable is her best friend and sidekick, a lovable loser. Awkward, woefully tongue-tied around girls, he's the one who tends to scream in terror as the action kicks up, who tends to get captured by the villains and requires rescue by Kim Possible. Despite he can hold his own in fights and, he is occasionally inept, but Kim still counts on him as an (almost) equal partner. He provides most of the funniest dialogues of the series.

Rufus, is Ron's talking mole rat, a pet that provides quite a lot of the show's comic relief.

Kim and Ron are called to their missions by Wade, a young genius who graduated University at the tender age of ten. He supplies Kim with her many techno-toys that beam her information and fight off baddies a la James Bond.

To the list shuld be added Kim's parents and a large stable of returning villains, and you have a recipie for fun.

This show has been called the animated version of other series lile Buffy the Vampire Slayer, Alias and Wrinkle in Time. However Kim Possible is far more tongue-in-cheek than the aforementioned, and is not above using sight gags as well as including the fun revolving around the clichés of villains or making references to a vast number of pop-culture cliche's, turning into an excelent self-referential reflecting mirror to many, as the perfect paradigm of contemporary pop-culture; disguised only by a subtle mask of science fiction or children-oriented humour, that can be easily uncovered.

Kim's mom and dad echo the old standby of television parents who are both overprotective but emotionally distant. Kim's father calls Kim in for a number of missions, but lives in terror of his daughter ever discovering boys (something that's already happened). Kim's mother, while a busy career woman, knows her daughter well enough to turn the tables on her.

Despite the fact that the show doesn't take itself seriously, there is a surprising amount of depth here. Kim, her parents, Ron and even a number of villains are real characters who remain consistent, and grow from episode to episode as well as the story; having references of past installments in many episodes.

Christy Carlson Romano provides Kim's voice and she's very believable as a confident, charismatic teenager. Will Friedle plays Ron Stoppable with considerable energy; his sardonic tones help make Ron an interesting and fun-to-watch character, especially when Ron is called upon to scream. Beyond this, there are numerous actors who also provided their voices in other animation shows, such as John DiMaggio as Dr. Draaken and "other voices" (Bender in Futurama) and Nancy Cartwright as Rufus (Bart in The Simpson).

On July 18, 2003 season 2 premiered in the US with "Naked Genius" and a few days later, on July 22, the Kim Possible soundtrack was released in the United States. On September 2, 2003 Kim Possible: The Secret Files was released to DVD in the United States.

The success of the series led the show to the movie format, so on November 28, 2003 (Thanksgiving Day) Kim Possible Movie: A Sitch in Time premiered on the Disney Channel. The movie included a mix of traditional animation and computer-generated imagery. Then on March 16, 2004 it was released on DVD in the United States.

On September 25, 2004 Kim Possible season 3 premiered in the US with "Steal Wheels"; which would be the last season of the series with a big finale wrapping up the story in the movie So the Drama which first premiered in the UK on February 11, 2005; and on April 8, 2005 in the United States, the show reaching its highest ratings ever. The main idea of having Kim and Ron together was for the creators a great wrap-up to the series. Outside, even the Middleton High School board reads, "THE END".

Despite it was the finale of the show (considered as three-episodes in one; the 63, 64 and 65) it was aired before episodes 58-62. David Nusair from Reel Film Reviews rated the movie 2.5/4 stating that the plot was thin and the kids would enjoy it more than adults but it is genuinely funny with better than expected voice acting. Kevin Carr from 7M Pictures rated the movie 3.5/5 and declared the movie may not be fine art but would be enjoyable for the right audience. Reviewer Mike Long from Jackass Critics, reacting to the film as a possible final installment of the Kim Possible series, commented that it "is a fitting denouement, as it encompasses everything that made the show a stand-out on The Disney Channel".

During season 3, on December 07, 2004, Kim Possible: The Villain Files was released to DVD in the United States and on May 10, 2005 So The Drama was released to that format too in the United States, featuring the episode "Gorilla Fist".

After that Disney stopped production of Kim Possible. However fans around the world would not let something like that happen and lots of Internet letter-writing went on, websites, forums, etc. all of them focused on one thing; one more season. And then happened something that is quite unusual, a big company like Disney listened to the countless petitions of fans around the world, and decided that one more season wouldn't hurt. Of course the high ratings of the movie were the main reason of taking such a decision.

So McCorkle and Schooley received that call from Disney asking for 22 more episodes. As they mentioned, they were sure that there'd be something else after So the Drama, having in mind the high ratings measured. Perhaps something like another movie, or a few more episodes, but the 22 episodes took them by surprise. They also confessed that the idea of making a great movie that would get them together was the ideal end; so they would never have to worry about what would happen after that once they are together. So now they had a new chalenge, how could they continue this story.

They decided not breaking them up and keep the basics of the relationship the same, even making it evolve naturally. Actually they would play a much around it, creating lots of funny stories out of it. Actually their romance would resemble their friendship and getting a lot of comedy out of Ron never having been in a relationship before.

So on November 28, 2005 Kim Possible renewal was announced at 10 PM EST on sites such as Reuters, many citing the SKP movement as part of the reason. Then on October 19, 2006 Kim Possible: Monkey Business was released on DVD in Germany, a country with one of the largest legions of fans. Finally on December 31, 2006 Season 4 first promo aired on Disney Channel to the great excitement of the fans all around the world. Some days later on January 13, 2007 the first trailer for Season 4 aired.

By February 3, 2007 episode 1 of season 4 "Ill-Suited" was shown on Disney Channel website before season 4 official premier aired.

February 10, 2007 at 8 PM E/P was the most awaited day for fans, a special of 2 hours aired, featuring the first four episodes of season 4 "Ill-Suited", "The Big Job", "Trading Faces", and "The Cupid Effect" one after the other. On March 19, 2007 it premiered in Canada on the Family Channel, while in Europe on April 16, 2007 and on May 19, 2007 in Germany.

The series finale aired on September 7, 2007 with the airing of the one-hour-long concluding episode, "Graduation," which is episode divided in to parts, namely episode 86 and 87, as their production codes are 421 and 422 respectively. (season 4, episode 21 and 22).

During its four seasons six Kim Possible video games were released.

  1. Disney's Kim Possible: Revenge of Monkey Fist (GBA) — released on November 15, 2002
  2. Disney's Kim Possible 2: Drakken's Demise (GBA) — released on September 22, 2004
  3. Disney's Kim Possible 3: Team Possible (GBA) — released on July 26, 2005
  4. Disney's Kim Possible: Kimmunicator (DS) — released on November 9, 2005
  5. Disney's Kim Possible: What's the Switch? (PS2) on released October 19, 2006
  6. Disney's Kim Possible: Global Gemini (DS) — released on February 13, 2007

In April 2006, Kim Possible and her sidekick, Ron Stoppable, made their first appearances on the Streets of America backlot at Disney's Hollywood Studios (ex MGM) theme park in Walt Disney World.

In September 2008, Disney announced the new Kim Possible attraction at Epcot slated to premiere in late 2008. Using the latest technology, Disney's Kim Possible World Showcase Adventure will invite guests of all ages to become secret agents, teaming up with members of Team Possible to save the world from various comical villains and their mad inventions. As guests embark on this international adventure, they will receive an official "welcome" at kiosks throughout Epcot. The interactive, handheld device "the Kimmunicator" is designed to help them maneuver through the mission. It connects guests with a variety of Kim Possible characters, providing clues to stop villains from taking over the world. The interactive devices also allow guests to control top-secret equipment hidden inside the World Showcase pavilions, creating an ultra-interactive adventure jam-packed with mystery and excitement. Guests will be able to play Disney's Kim Possible World Showcase Adventure in seven of the Epcot's World Showcase pavilions: Mexico, Norway, China, Germany, Japan, France and United Kingdom. Each pavilion will feature a unique mission including distinctive visual events and a different super villain from the animated series. "You hit the OK button, and something happens for you," said Jeannette Lomboy-Russo, an Imagineer who previewed elements of the attraction during a behind-the-scenes tour. Each of seven countries presents a different adventure, storyline and villain. Each mission will take 45 minutes to an hour to complete, and will be contained within a single pavilion. Players won’t be scurrying all over World Showcase to save the world. "Particularly for children, it’s very empowering," Imagineer Jonathan Ackley said. "The kid is essentially controlling the theme-park environment." Popular characters from the TV series are included in the Kimmunicator’s videos, but some original characters were created for the attraction. It must be noted that a similar Kim Possible attraction had a smaller test run at Epcot in 2006.


The future of Kim Possible:

For the moment there are no comments about a fifth season, however in September 2008, Disney announced a new attraction of Kim Possible to premiere in late 2008; you can read more about that in the last paragraphs of the "History and evolution of Kim Possible" chapter, above.

Regarding other subjects, of the series here is some information provided by director Steve Loter who participated in an online chat interview, which took place in a fan's site, answering to the fandom around the world.

When he was asked if Disney will continue the show in a fifth season; he answered that he doesn't really know since he is not working at Disney anymore, so he is not given that info, but if given the opportunity he would continue with KP into the forseeable future, after a break of course; however, he added that he really thinks this is the end of KP plus they didn't think anything past the finale. But if ever a fifth season comes out, he would love to fast-forward the characters to their adult years, probably in the early 20's as well as making them work with Global Justice. He admitted that skipping college altogether and make Kim a version of Erin ala James Bond Like would be a good idea; but right now they're busy coming up for ideas on their new shows.

He said that he wants to work on any spin off, but really doesn't think anything will ever happen though.

According to Loter, after graduation Kim and Ron go to College together. According to him, there is no doubt of that. Since one of the possible endings had them going to the College together, moreover, that alternative finale's rough storyboard background had a college like those found in Upstate New York, it is more than possible that theirs is located in that region, making Albany a big possible candidate.

He also said that Drakken keeps the flower power forever and that he and Shego end up together as a couple since it was one of the fans' desire. McCorkle, Schooley and Loter decided that at the last minute; he also admitted that fandom played a principal role into the design of the final episode. He also added they thought it was funny and they knew some people really wanted it, thus confirming they ended up as a couple. He also mentioned that he thinks Drakken will still be evil, but in a more annoying way and that he thinks they are a dysfunctional couple.

To another question about why Shego left Drakken in jail, in the fourth season opening, he said it is because she had it with him for what happened in the movie "So the Drama."

When asked about why Joss was not in the finale, he answered that they had a lot of another characters to service in the ending and that Joss' story was already told.
The same goes for Monique who didnt have as much screen time in the finale because they had a lot of characters to service.

Loter also stated that Felix and Zita are a couple.

Answering a question about who's idea was it for the Ron vs. Aliens battle, he said that he designed the symbol so the similarity was not intended. Ron was not intended to be the 'Great Blue' but someone earlier mentioned that he really liked it. Ron Vs. Aliens came very late in the game. He also added that many were not very excited about doing that.

Regarding the mystery about what was in Shego's leg pouch, he said despite he made a promise to show what was in the leg pouch, then decided it's best left open.

He also said that making Monkeyfist a statue at the end was a last minute thing. He was originally normal. DNA 'changed' because he didn't remember Gorillafist.

When asked about the age of Shego he answered she was at her mid 20's.

If he could design KP boxsets, among the special features included he would add animatics.


The last panel of the alternate ending of "Graduation" II in the series' finale.



Soundtrack: 

"Call Me, Beep Me! (The Kim Possible Song)"

Written and Produced: by Cory Lerios & George Gabriel

Performed: by Christina Milian

Christina Milian appears courtesy of Def Soul Records



Awards: 

Emmy Awards
Nominated in 2003 for "Outstanding Animated Program" (For Programming Less Than One Hour)

Robert Schooley (executive producer/writer), Mark McCorkle (executive producer/writer), Chris Bailey (executive producer/director), Michel Lyman (timing director), J.K. Kim (timing director), Bob Treat (timing director), Marsh Lamore (timing director). For episode "Crush".


Daytime Emmy Awards
Won in 2005 for "Outstanding Achievement in Sound Mixing - Live Action and Animation"

Melissa Gentry-Ellis (re-recording mixer), Fil Brown (re-recording mixer).
Nominated in 2005 for "Outstanding Achievement in Music Direction and Composition"

Adam Berry (composer).
Nominated in 2005 for "Outstanding Achievement in Sound Editing - Live Action and Animation"

Paca Thomas (supervising sound editor), Robbi Smith (supervising dialogue editor).
Nominated in 2005 for "Outstanding Children's Animated Program"

Robert Schooley (executive producer), Mark McCorkle (executive producer), Kurt Weldon (line producer), David Block (director), Steve Loter (director), Lisa Schaffer (director), Bill Motz (writer),Bob Roth (writer).
Nominated in 2005 for "Outstanding Performer in an Animated Program"

Christy Carlson Romano.
Nominated in 2004 for "Outstanding Children's Animated Program"

Mark McCorkle (executive producer), Robert Schooley (executive producer), Steve Loter (director), David Block (director), Lisa Schaffer (director), Kurt Weldon (line producer).
Nominated in 2004 for "Outstanding Performer in an Animated Program"

Nancy Cartwright.
Nominated in 2003 for "Outstanding Achievement in Sound Editing - Live Action and Animation"

Paca Thomas (supervising sound editor), Robbi Smith (dialogue editor), William Griggs (sound editor), Brian F. Mars (sound editor), Marc S. Perlman (music editor).
Nominated in 2003 for "Outstanding Special Class Animated Program"

Mark McCorkle (executive producer), Robert Schooley (executive producer), Chris Bailey (director), Lisa Schaffer (director), Gary Sperling (writer).


Anny Awards
Nominated in 2008 for "Best Animated Television Production"
Nominated in 2006 for "Best Production Design in an Animated Television Production"

Nadia Vurbenova. For episode "So The Drama".
Nominated in 2006 for "Best Storyboarding in an Animated Television Production"

Troy Adomitis. For episode "So The Drama".
Nominated in 2006 for "Best Storyboarding in an Animated Television Production"

Dave Bullock. For episode "So The Drama".
Nominated in 2003 for "Outstanding Achievement in an Animated Television Production"
Nominated in 2003 for "Outstanding Achievement in an Animated Television Production Produced for Children"
Nominated in 2003 for "Outstanding Production Design in an Animated Television Production"

Alan Bodner.


Kids' Choice Awards, USA (Blimp Award)
Nominated in 2003 for "Favorite Cartoon"


Trivia: 


'Nancy Cartwright' researched naked mole rats to prepare for her role as Rufus (the naked mole rat).

Dr. Drakken's real name is Drew Lipsky.

Kim's Grapple Gun was first seen in "Bueno Nacho". She thought it was a hairdryer.

Ron bought Rufus at the "Smarty Mart" because his father is allergic to fur.

The big sign outside the school changes messages every time it's seen. Usually reflecting the current plot.

Kim Possible's role was originally offered to 'Anneliese Van Der Pol' but she turned it down in favor of That's So Raven. Eventually Christy Carlson Romano got the part.

On November 28th, 2005, the show was granted an extension of 22 episodes-- a fourth season by Disney because of a months-long viewer campaign to save the show by the fans.

Neil Patrick Harris auditioned for the role of Ron Stoppable.

John Cena auditioned for the role of Ron Stoppable. When he didn't get the role he decided it was a sign from above to pursue a career in professional wrestling.

The Middleton Mad Dogs sports teams and cheerleaders have a rivalry with the Montreal Lemurs. Competitions between these two teams are always heated.


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