Gylian animation, also referred to as Gylianime, is animation originating from Gylias. With the earliest animated works dating from 1918, animation is an important part of Gylian cinema, representing a diverse art form with distinctive production methods and techniques.

The development of Gylian animation has been strongly influenced by Miranian anime, giving rise to the term "Gylianime".



The first Gylian animation was produced in Alscia in 1918.

Animation in Alscia was primarily experimental, and its output was generally short films. Some of these works had a pronounced influence from Megelanese futurism and city symphony films. Animated shorts for children, educational films, and sponsored films appared in the 1920s–1930s.

As a province of the Cacertian Empire, Alscian animation was forced to compete with established Cacertian animation studios. This influenced the artistic focus of Alscian animation, and pushed Alscian animators to seek out other influences in order to create a distinctive product.

Free Territories

Animation experienced development in the Free Territories, but the difficulties of the Liberation War made it a peripheral part of cinema.

The expense and shortages of celluloid resulted in greater use of other methods of animation in the Free Territories, such as cutout animation, stop motion, and drawn-on-film.

While most surviving Free Territories animation is experimental, abstract animation, animated agitprop and editorial cartoons also existed, the majority with an anarchist message.


Gylian animation experienced a boom following the Liberation War. The economic boom and Golden Revolution shaped the industry, as did the popular notion of "applied avant-garde". The notion helped reconcile the experimental and entertaining branches of animation, producing a style that balanced accessibility with experimentation.

The period saw the accelerated development of traditional animation, following the end of rationing, and the emergence of the "Gylianime" style, owing to strong influences and popularity for anime imported from Kirisaki and Akashi.

The establishment of the Gylian National Film Institute was instrumental in the flourishing of Gylian animation. The GNFI built one of the largest animation studios in the country, placing great emphasis on training new animators, and lent production assistance and resources to almost every animated feature created in Gylias. With no need to worry about profitability, guaranteed government suport, and great artistic freedom, the GNFI obviated the need for extreme forms of limited animation.

Initially, animation found a handy outlet in television. Outer View (1960–1961) was the first successful animated series, noted for its gently educational atmosphere and pioneering electronic music score. Animation was embraced by Gylian Television as a distinctively Gylian art form during the Golden Revolution, resulting in hit series such as Heart of the Village, Agent Jane, and the long-running Kleptechne franchise.

The first animated feature films appeared in the early 1960s. The Beaties' Magical Mystery Tour (1967) was groundbreaking in its fusion of live-action and animation. The first animated film to gain significant success was Alice in Wonderland (1968).

During the 1970s, animation gained a permanent place in Gylian television: GTV4 was established, a channel entirely dedicated to animated programming, and Associated Television debuted the long-running anthology series Animanège. Subgenres that developed significantly in the period included science fiction, sports, musical, and pornographic animation.

Rising production costs led foreign companies to start subcontracting production work to Gylias. While the high overall quality of animation and the low exchange rate of the Gylian þaler proved attractive, cultural clashes between foreign production schedules and GNFI's more laid-back approach caused difficulties.

The most significant development of the 1980s was the popularisation of home video, giving rise a new direct-to-video industry. The animation industry seized upon the new format to meet demand, making original video animation a mainstay of the industry. Notable works of the decade included the adventure comedy Cat's Eye (1983–1984), martial arts series Natsuki Crisis (1984–1995), science fiction series Poly-Space (1988), and the pornographic OVA Sensational Momoko! (1989–2002).

The establishment of the pan-Common Sphere channel Viva provided a new outlet for Gylian animation, particularly in the animation showcase Liquid Television.

Animation underwent a renewed boom period during the 1990s, coinciding with economic rejuvenation after the wretched decade and a renewed sense of national optimism and confidence. Dreamwave Productions' lavishly-budgeted and polished blockbusters and media franchises had an impact on the industry, producing hits such as Le recueil des faits improbables de Ryōko Yakushiji (1997–2001), Les Enfants Terrificques (2004–2008), Wonder Momo (2010), and Bodacious Space Pirates (2012).

Other notable animated works since the 1990s include Teacher's Activity Log (1990–1992), Karydan Station Files (1994–2004), L'Espérance (2000–2010), and Retrievers (2005–2007). The nénédie genre developed strongly on screen.

The growth of the internet in Gylias allowed OVAs to migrate online, becoming original net animations (ONA). The growth of video games opened new possibilities for the development of media franchises, which Dreamwave in particular took advantage of.


Gylian animation is seen as a diverse form for all ages and audiences. Unlike other countries, it never went through a period of being seen primarily as for children.

Besides the predominance of Miranian-influenced aesthetics and storytelling techniques, the Gylian animation industry uses certain common practices:

  • The script is finalised and dialogue recorded before a project starts production. This allows animators to create realistic lip synching.
  • Working hours are limited, and open allocation systems are common, allowing teams to assemble ad hoc and animators to work on what interests them.
  • Collective projects predominate. A sizeable portion of Gylian animation does not have a director credit, instead being credited to studios as a whole.

Animated shows share the practices of broader Gylian television:

  • Production occurs in sets of 5 or 10 episodes at a time, referred to as "series".
  • A whole series is completed before it begins airing.
  • Episodes are broadcast daily. The most common schedule is Monday to Friday, while other shows are broadcast on weekends.
  • Studios and broadcasters negotiate over the production of additional series, with the final decision belonging to the studio. It is common for long-running animated shows to experience long gaps between series.