Mano Animation Studios and the Vision of Usman Riaz
A story of perseverance and unwavering determination
Image © Mano Animation Studios
The magic of Japanese animated movies, especially those crafted by the iconic Studio Ghibli, always make me happy. When I say I'm a 'diehard' fan, it's no exaggeration.
I've watched every Ghibli movie countless times and each year, as a family tradition, we dive back into these enchanting worlds. They're more than just stories; they’re experiences. They pull you in so deeply that you feel like part of the creation, even though you’re merely watching from the outside.
Every Ghibli film has its unique charm. The works of Isao Takahata have their own distinctive textures, while Hayao Miyazaki's creations shine with particular brilliance. This love for hand-drawn animation made the news of Usman Riaz founding Mano Animation Studios back in 2014 a revelation for me. Inspired by Studio Ghibli, Usman set out on a noble quest to bring hand-drawn animation to Pakistan.
I’ll admit, I was skeptical at first, but from the start, I was emotionally and spiritually invested, hoping to see this dream come to life. Fast forward almost a decade, and we now stand on the brink of seeing Mano Animation Studio's first feature, 'The Glassworker', come to fruition.
Some argue that taking ten years to produce an animated film is far too long, and while that might be true in countries with established animation industries, we must remember Pakistan didn't have any such industry, let alone one focused on hand-drawn animation. The transformation of Pakistan's media industry since the early 2000s has largely been driven by 3D animation and commercial series, which serve their purpose well.
However, the soul and effort that go into hand-drawn animation are unparalleled. When Usman Riaz and his team talked about their dreams and efforts, they highlighted an essential truth – creating something amidst political and economic turmoil is no small feat.
In 2014, Pakistan was grappling with severe challenges, including urban terrorism and economic instability. In such a climate, starting a hand-drawn animation studio might have seemed insane. Yet, Usman and his 'crazy' team stayed true to their vision, demonstrating that persistence and faith could move mountains. Their story is a testament to humble but unyielding commitment – a narrative that defies the odds and inspires many, including myself.
Where animation studios in developed countries produce films in a few years, Mano Animation's decade-long journey in Pakistan is nothing short of miraculous. When 'The Glassworker' finally premieres, it will be more than just a film. It will symbolise the dawn of (hopefully) potential new beginnings in Pakistan's animation industry, deserving our full support and celebration.
Unlike many entrepreneurial ventures that promise to 'disrupt' markets but often fizzle out due to mismanagement or greed, Mano Animation Studios has kept their faith. They honoured their commitments, especially to the thousands who initially supported them through fundraising campaigns. Their perseverance is commendable and is a shining example for future entrepreneurs and creators. I recall Usman mentioning how mainstream media networks mocked and dismissed their project in its early stages.
Yet, here we are, almost a decade later, with those same networks now seeking collaboration. The key lesson here is clear – if you stay true to your vision, even the naysayers will eventually see your value.
Today, as I reflect on this journey, I realise how much has changed. When Mano Animation Studios announced their project, I was a bachelor and working in the corporate sector in Lahore. Now, years later, I run my consultancy and have a family of my own. The release of 'The Glassworker' means I can now share this incredible achievement with my children, letting them experience firsthand the power of dreams and determination.
Hats off to Usman Riaz and his team – their journey is truly a beacon of hope and inspiration for all of Pakistan.