Walking

The scouts

Everyone's going to call this a gentle observational piece, but Larkin's actually doing something deliberately strange—he's treating locomotion like a formal problem that breaks every rule of character-driven narrative, and it shouldn't work, but it does.

A canonical example of animation-as-essay, Walking sits squarely in the lineage of avant-garde documentary practice; Larkin's shifting drawing techniques aren't decoration but rigorous formal choices that deepen our reading of gait as both biomechanics and social text.

The decision to shift between ink, wash, and line work for each figure type—not just stylistic flourish but a way of making the *medium itself* comment on age and physicality—is the kind of specific, economical choice that turns five minutes into something unforgettable.