Animation Review: Love, Death + Robots (Volume 1)

Very Average Joe
Aug 18
9 min read

Updated: Sep 7

Title: Love, Death & Robots

Director(s): Various

Screenwriter(s): Various

Studio: Various

Released: 2019

Volume 1 Runtime: 18 episodes, ~8m–16m each.

Love, Death + Robots is an anthology created by Tim Miller, who is also, amongst others, a producer. Volume 1 contains 18 episodes and was released in March 2019. (Opinyuns was started in November 2020, and it is only recently that I’ve had time to revisit the series.) As of 2025, four volumes have been released.

The episodes are produced by various studios from around the world. Each episode is based on at least one of the titular themes of “love”, “death” or “robots”.

Like all anthologies, there are hits and misses. In my opinion, there are way more misses than hits—most of them try too hard to be edgy with nudity or swearing that comes across as forced.

However, they are short and most of them look good enough. So, if one is into animation or anime, then it is still worth giving them a shot.

CGI can be used for any genre but it does lend itself to sci-fi and fantasy, so those who like these genres may find a few that they will enjoy.

The titles that are in bold and with screenshots are, in my opinion, the better episodes, taking into account the storytelling as well as the visuals. It does not mean they are great, just that they are arguably better on balance. Typically, across all four seasons, episodes that are over ten minutes are better since, even for a short film, those extra few minutes make the story fuller.

Please note that the order below is of the original release which has since changed.

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“Sonnie’s Edge” (11m) – Director: Dave Wilson, Screenwriter: Philip Gellat, Story: Peter F. Hamilton, Studio: Blur Studio

Sonnie is a young woman who is a survivor of a gang sexual assault and is now a “pilot” of bio-engineered “beasties” in ring fights. One night, ringmaster Dicko asks her to throw the fight but she refuses…

A beastie fight is just an excuse for some sci-fi violence, which would be more palatable if it weren’t for the whole “woman victim out for revenge, woman power, blah blah blah” premise. Visually, it is well done technically with the dark cyberpunk tone and some cool camera angles. But overall, it is over-stylized and pretentious.

●

“Three Robots” (11m) – Director: Victor Maldonado & Alfredo Torres, Screenwriter: Philip Gellat, Story: John Scalzi, Studio: Blur Studio

Three robots tour a ruined city in a post-apocalyptic world. How long since civilization as we know it died is not stated, although some things, such as bodies, are way too intact if it has been a long time.

It is essentially plotless, just the three robots’ commentary on humanity. It is supposed to be funny but just comes across as forced and dull. It is visually not bad, but not great. The environment is nicely executed, the robots are deliberately sleek but the cat can be better.

●

“The Witness” (12m) – Director: Alberto Mielgo, Screenwriter: Alberto Mielgo, Studio: Pinkman.TV

Set in what appears to be slightly futuristic Hong Kong, a young woman sees a murder across the road with the murderer noticing her looking. She runs and he chases. She’s a dancer so there has to be a sexy dance and nudity, but it’s basically a chase scene.

It goes for the photorealistic look with lots of film grain and sharp cuts to give that edgy feel. Despite trying a little too hard to be edgy, which it arguably needs since it is merely a chase, it does have effective tension and it is moderately intriguing.

●

“Suits” (16m) – Director: Franck Balson, Screenwriter: Philip Gellat, Story: Steven Lewis, Studio: Blur Studio

Farmer Henry Graves and his wife Beth one nights gets the breach alarm. It turns out that alien monsters are coming through the shield. Graves and his fellow farmers use their mechs to fight out the horde to protect their community.

The premise is simple, but there is enough plot movement which along with the action compensates for the template characters and plain dialogue. The utility mech that can be used for combat is fun, and along with aliens and even the shotgun, the piece is clearly inspired by Aliens (1986).

Visually, it has the rendering style that Arcane (2021) later adopted. Overall, it is well-executed and enjoyable. This film shows that even if the story is nothing special and predictable, it can still work and be enjoyable because of how well all the different aspects are managed on balance.

●

“Sucker of Souls” (12m) – Director: Owen Sullivan, Screenwriter: Philip Gellat, Story: Kirsten Cross, Studio: Studio La Cachette

An archeologist and his assistant are accompanied by three mercenaries as they explore the cave. They come across Dracula.

It is done in the style of rough sketches, but along with the gore and foul language comes across as trying way too hard to be dark and gritty. It’s just an action piece and, whilst there is movement, it lacks a twist.

●

“When the Yogurt Took Over” (6m) – Director: Victor Maldonado & Alfredo Torres, Screenwriter: Janis Robertson, Story: John Scalzi, Studio: Blow Studio

Voiceover narration tells the history of how scientists grafted some advanced strain of DNA onto Lactobacillus delbrueckii, which is used to ferment yoghurt. A sample gains sentience and, being highly intelligent, takes over the world.

Even for a vignette, it lacks a plot. However, the yoghurt does not take over the world by force, so it at least avoids that cliché.

The work has enough seriousness, making it deadpan absurdist and mildly amusing. Visually, the characters adopt the style of simple toy-like figures, a deliberate contrast to the narrator’s tone which augments the absurdity.

●

“Beyond the Aquila Rift” (16m) – Director: Léon Bérelle, Dominique Boidin, Rémi Kozyra, Maxime Luère, Screenwriter: Philip Gellat, Story: Alastair Reynolds, Studio: Unit Image

Thom and his two colleagues are taken far, far off-course on their cargo run. Fortunately, their ship is taken into a space station on which Greta, a woman Thom had a fling with a few years ago, is working…

It’s the “things are not what they seem” premise and plot, which is fine, but it tries too hard to be edgy. The voice acting at times is a little forced, which doesn’t help.

The environment design is great but the characters’ rendering and motion are inconsistent which would be more palatable if it didn’t try too hard since the story is generally good enough.

●

“Good Hunting” (16m) – Director: Oliver Thomas, Screenwriter: Philip Gellat, Story: Ken Liu, Studio: Red Dog Culture House

Liang and his father hunt for a shapeshifter fox-woman, presumed to be a malevolent spirit, and kill her. Liang lies to his father that there are no “pups” around when there is one named Yan. Later, he befriends Yan and his father dies. As times change, Liang goes to Hong Kong.

Starts “normal” enough but on the back of British colonization of Hong Kong, the piece shifts to steampunk as technology advances. This is consistent to the theme. However, the piece relies on the main characters playing the victim against their “British masters”.

Visually, the environment is well done, having the style that Arcane (2021) also adopts. The characters, however, are different by taking a simpler and cheaper look with not enough graduations. That being the case, it looks good enough overall.

●

“The Dump” (10m) – Director: Javier Recio Gracia, Screenwriter: Philip Gellat, Story: Joe Lansdale, Studio: Able & Baker

A city inspector visits the junkyard-dump property belonging to Dvorchek with the intent of evicting him. Dvorchek tells the story of a strange encounter.

It’s a flashback followed by the final scene that is totally predictable. Either way, neither the premise nor the plot is particularly intriguing.

Visually, the environment is done well technically in a moderately cartoon-like style, which isn’t that stylish. The characters adopt a caricature style which, again, is technically well done but isn’t that stylish either.

●

“Shape-Shifters” (16m) – Director: Gabriele Pennacchioli, Screenwriter: Philip Gellat, Story: Marko Kloos, Studio: Blur Studio

Two werewolves serve with the US Marines in Afghanistan. They face the werewolves of the Taliban as well as some prejudice from their own.

It’s not a bad idea and piece but it is overly simplistic to the point that it is cheese, especially the prejudice from their fellow soldiers.

Visually, the nighttime scenes are nicely done, as is the werewolf transformation.

●

“Helping Hand” (9m) – Director: Jon Yeo, Screenwriter: Philip Gellat, Story: Claudine Griggs, Studio: Axis Studios

Alex is tasked to maintain satellites by going EVA on her own. Of course, she gets into trouble… The premise is obviously inspired by Gravity (2013), which is fine, but it is rather convenient that there is no tether.

It has unnecessary references to Aliens (1986) by calling the satellite LV426 and the dialogue reveals that their employer (the “company”) underpays its employees. (The film does not involve alien entities.) Ultimately, it works because it has decent tension with movement, even if it is a short work.

The space scenery and vehicles look good. Even the human character looks not bad.

●

“Fish Night” (10m) – Director: Damian Nenow, Screenwriter: Philip Gellat, Story: Joe Lansdale, Studio: Platige Image

The car of two travelling salesmen breaks down in the middle of the desert. The older man talks about how the desert would have been the ocean in another era and, of course, they start seeing things.

It is done in the style of a comic book but the apparitions are not. It may be done well technically but, along with the lack of plot, it comes across as trying too hard.

●

“Lucky 13” (14m) – Director: Jerome Chen, Screenwriter: Philip Gellat, Story: Marko Kloos, Studio: Pictures Imageworks

Rookie pilot Colby is assigned to Lucky 13, a Marine gunship-transport that has lost two crews but the vehicle has strangely survived. It’s a ship nobody wants. Apparently, the AI has a bit of a personality.

Looks like a typical decent CG piece; the vehicles and the gritty action look good even if the human characters can look better.

As a sci-fi military action piece, it mostly works as it has just enough plot. There are obvious references to HAL 9000 from 2001: A Space Odyssey (1968), although that theme can be better explored.

●

“Zima Blue” (10m) – Director: Robert Valley, Screenwriter: Philip Gellat, Story: Alastair Reynolds, Studio: Passion Animation Studios

Journalist Claire Markham is invited to see Zima Blue, a famous artist who is about to reveal his final piece. Markham is the viewpoint character. She narrates Zima’s past as an artist before the interview with Zima.

It’s a little crude but the gradual exposition can be captivating as it sets up the intrigue nicely. It is as much about the artist’s journey to push the envelope as it is about how pretentious the artist and their followers can be.

Visually, it is done in a posterized style and therefore different from the other works of the series, which is refreshing. The layering is somewhat like paper craft.

●

“Blindspot” (8m) – Director: Vitaliy Shushko, Screenwriter: Vitaliy Shushko, Story: Vitaliy Shushko, Studio: Elena Volk

A cyborg referred to simply as “Rookie” tags along with a group as they attempt to steal a chip from an armored truck.

It is a heist action sequence with a few “motivation and obstacle” cycles before the resolution. It’s simple and nothing special, but it is mildly fun.

●

“Ice Age” (10m) – Director: Tim Miller, Screenwriter: Philip Gellat, Story: Michael Swanwick, Studio: Digic Pictures, Atomic Fiction

A couple moves into an apartment with an old fridge. They discover a civilization in there, equivalent to the medieval period.

This is basically a montage piece as the couple watches the civilization develop, going through its ups and downs. It’s an animator’s show-off but it is pointless.

●

“Alternate Histories” (7m) – Director: Victor Maldonado & Alfredo Torres, Screenwriter: Philip Gellat, Story: John Scalzi, Studio: Sun Creature Studio

Narrated by an infomercial voice that promotes Multiversity, an app that simulates alternate timelines. The film goes through six “demo” alternate timelines in which Hitler dies before he has a chance to take power.

It’s another Hitler joke, which is fine, except it’s not particularly interesting or funny as intended. In one demo, he gets killed in a street brawl, which is amusing, but relying on increasingly absurd scenarios like being killed by an asteroid is trying too hard to be funny.

Visually, it is a deliberate mish-mash of styles, including posterization, simple comic and photorealistic elements. Although that is arguably fitting to the comedy, it at times does look like a mess.

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“The Secret War” (15m) – Director: István Zorkóczy, Screenwriter: Philip Gellat, Story: David W. Amendola, Studio: Digic Pictures

A group of Red Army soldiers hunt for “ghouls” in the forests. There are other teams, but due to scarce resources, they are too dispersed.

It’s a monster-horror piece in a war setting. It may be predictable but the pacing is managed well. There is sufficient intrigue, tension and action. It may be nothing special but the execution is very measured.

The CG is excellent. Although the human motion can be a bit better, the design, weather and particle effects, and rendering are very well done.