The Google doc for braille support is here: link
Supercrip is a magical-chaos allegory of illness made by disabled filmmakers as a 2D limited-animation (animatic style) fantasy-comedy series.
three strangers hold each others fate in their very clumsy hands: two chronically ill girls with uncontrollable magic and an unpaid intern from the cult that's coming after them. Each an inversion of a pervasive disability trope — victim, villain, and supercrip.
⋙ Supercrip is a post-modernist fantasy-comedy
⋙ Our current production is committed solely to episode one of a proposed limited series
⋙ ~ 30 min episode runtime
⋙ Episode one will be published to YouTube
⋙ Phase one of production was successfully funded by a grassroots crowdfund ($6k goal, $6k raised)
⋙ Made possible by Limited Frame Animation (animatic style)
⋙ If you liked any of the following, you'll probably like Supercrip too (comps):
- Russian Doll
- Dirk Gently's Holistic Detectives Agency
- Everything Everywhere All At Once
Supercrip is a trope in which a disabled character has seemingly overcome their disability through ✨sheer willpower✨ or magic despite no other changes to their actual health or accommodations.
It's portrayed as inspirational, but it causes real harm to real humans by reinforcing the idea that being sick is not acceptable, and the onus is on disabled people to push through the pain rather than on our communities to increase accessibility and access to healthcare.
In the Villain trope, a character’s disability is a visual signifier of their evilness, and is also often the fuel of resentment that makes them evil in the first place.
In the Victim trope a disabled character’s death is considered better than them “being alive and suffering,” especially when it’s despite no attempts to increase accessibility aids or healthcare.
These tropes seem opposing, but they are all just different expressions of the same false idea:
That a disabled life isn’t worth living.
When you’re in pain, when you're resented for your inabilities, when you feel like you have no control over your own body, let alone your life, the thought that your life isn’t worth living is loud. It’s already loud. And it impacts real humans to have that same inner thought repeated back to us in the stories we consume. Because when it's repeated to us, it's easier to believe that it's true.
Our mission is to repeat the fact that life with a disability is still a life worth living. Because we know from personal experience how hard of a belief it is to hold onto in our greatest pain and at our lowest moments, and how much even a small story can impact what we believe.
Supercrip is an allegory of what it's like to be disabled at three stages, using inversions of the three most pervasive disability tropes.
Our inversions of these tropes are built on the details that so many disabled people relate to, but don’t often realize are common experiences because they’re rarely present in our stories or conversations:
Heidi
Inversion of the Supercrip in the first few years after symptoms begin. It's very common to be undiagnosed for many years while you (and those around you) are stuck in denial, which ultimately withholds the accommodations you need.
Subin
Inversion of the Villain with a sudden onset. It's very common for disabled people to be treated like their illness was a result of bad choices, and thus it correlates to their morality and humanization (or lack thereof).
Lola
Inversion of the Victim with a chronic illness that she's had since she can remember. It's very common with long-term illnesses to feel stuck between trying to survive and trying to escape, even if the latter counterintuitively means death.
“We don’t want to break a glass ceiling in a building that wasn't designed for us to be in. We want to build our own.”
There are few places where the phrase “time is money” is more true than in the midst of a studio production. And the number one prerequisite for accessibility – is time. Standard productions are constructed so centrally around low costs via high efficiency – with 10-12 hour days, a non-tolerance for missing or being late to set, and a high pressure environment to have the fastest turnaround – that it would take a completely restructured approach to production in order to make it accessible to most disability accommodations.
And that’s exactly what we did.
Limited Frame Animation
Amidst the current indie animation renaissance, animatics and expressive styles are also on the rise. "Animatics" use Key animation without in-betweens to signify (but not smooth out) motion. Expressive styles also often utilize energetic rendering to add to the sense of motion without extra frames.
It's a workflow we can do from bed, at all weird hours of day and night, and takes what would have been an impossibly long production more possible.
This is why a project like ours is possible for one of the first times in history.
Crowdfunding
Having crowdfunded phase one of production means that we are beholden to the fans who want to see the story they love and the significance of how we are making it, rather than to investors who want to see profits at speed.
A Team of Disabled Artists
No need to apologize, no need for excuses. The expectation is that half of our meetings will be missing someone or canceled due to the un-scheduable nature of chronic episodes. So we work with it, not against it: every meeting has a rain day scheduled, a recap sent to the team, and a prioritization of people > pushing it.
It's not easy, but it's a step unlike any other in the industry.
she/her, abled
Alex has experience at Perception and Pixar, a BFA from NYU Tisch, and a great french toast recipe. She makes schedules designed with the teams' disabilities in mind and pitches in for production.
Dislikes: pet peeves
Adores: peanut butter, popcorn,
pajama pants, and p-words
she/her, medicated + vibing
Jane has a background in book publishing and a deep love for Garfield. She uses her editing skills for scripts and emails alike.
Dislikes: When it's cold in the morning so you have to wear a coat, but then it gets warmer so you have to take the coat off and carry it on your way home.
Adores: Short walks and long naps on the beach.
she/they/he, invisibly disabled
Isabella has a fainting condition, OSDD, experience working with Carnegie Hall and Pixar, a BFA from NYU Tisch, and too much Italian DNA for her own good. She makes the storyboards, designs, and leads the team in production.
Dislikes: Joseph Campbell, stay rollin' in your grave, buddy
Adores: Herb Gardens
they/them, disabled
Hannah has POTS, EDS, an art doll collection, and a service dog named Gwen. They keep the chaos cohesive during writing sessions, using their personal experience with large breed cardiac alert service dogs along the way.
Dislikes: Needles
Adores: Snakes
Pronouns: he/him
Quote: “My organs aren’t even healthy enough to harvest”
Occupation: Unpaid intern at a cult
Disability status: Not disabled…yet.
Subin is just trying to get hired, even if it means bloodlust and writing reports on the cult's newest client: his roommate Heidi. That is, until they fall in love, and he is caught between two lies, as Heidi’s magic-fueled episodes and the cult’s directives both dangerously escalate.
Pronouns: she/they
Quote: [Covered in blood] “I'm so sorry to bother you”
Occupation: Sells 21st c. baubles to the 1700s, then pawns the doubloons.
Disability status: Invisibly disabled with OSDD-1b (A subtype of D.I.D.)
Stuck in a cycle of failing to escape the cult; Lola wants to die, but her alters won’t let her. Until Frankie, a kind bystander, becomes the first person to help Lola and survive. Now they're both on the run as Lola’s first ever friendship begins, and death is no longer the only way out.
Pronouns: she/her
Quote: "There's not enough Red Bull in my system to handle this emotionally."
Occupation: Firefighter Trainee
Disability status: Visibly disabled with an undiagnosed case of POTS.
Heidi is stunted in grieving for the life she thought she would live before getting a chronic illness. And when the telekinesis she thought was going to get it back for her becomes its own magical disability, the grieving starts over. Except this time, she doesn't stop at denial.
Pronouns: he/him
Quote: [If asked, is CLP a cult?] “No :)”
Occupation: CEO of CLP
Disability status: Abled
Ken is Subin's supervisor and CEO at the Cult of Lord Petra: Client Management Services. Subin was hired so Ken could create his own successor from the ground up (or kill him if things go awry). Which is more genuine – his apathetic bloodlust or goofy fatherly comfort – walks a thin line. Enjoys: Bossa nova and murder.