Studio Unagi on blending traditional and rigged animation in BESTIALE

BESTIALE, animated by Studio Unagi for Ankama, is a high-energy action series which blends fluid hand-drawn animation with stylised rigging and 3D elements. The story follows Yrehn, a creature tamer from the magical world of Dofus, on a rescue mission that explores moral conflicts through utterly breathtaking anime-style sequences.

We spoke with animator Guillaume Dubois, CEO of Studio Unagi, about their work on the 7-episode project. In our interview, he shares insights on how the team balanced traditional animation techniques with modern tools to meet the challenges of producing the series on schedule. We discussed how Toon Boom Harmony’s ability to combine hand-drawn animation with rig-based workflows allowed Studio Unagi to seamlessly tailor each shot to the project’s needs.

One of the standout elements of the show is its complex fight choreography, including a stunning final battle sequence featuring emotionally charged POV shots. We discuss how Studio Unagi tackled these scenes to ensure every frame met the show’s high standards which fans of Ankama’s productions have come to expect.

Please introduce BESTIALE for our readers with a brief synopsis…

Guillaume: BESTIALE follows Yrehn, an Osamodas guardian, who lives a peaceful life alongside the legendary Elante [a mysterious 3-eyed beast]. Together with Aros, the great eagle, and Ganos, the mighty boar-taur, they protect their secluded animal sanctuary. 

But their tranquil existence is shattered when Karn, a notorious hunter and devourer, arrives on the island. Sent by a mysterious bird, the Iop warrior kidnaps Elante, setting off a high-stakes rescue mission.

The story explores themes of animal cruelty, survival, and humanistic values, all at the heart of the moral conflict our characters will face. With its striking visuals and dynamic animation, BESTIALE delivers a unique take on action and adventure, deeply rooted in the signature style of Ankama.

How did Studio Unagi get involved with animating BESTIALE, and what was your role in the production?

Guillaume: Ankama approached us to handle the 2D animation for BESTIALE because they wanted a studio that could bring strong character animation and a hand-drawn aesthetic to the project. Studio Unagi specializes in high-quality 2D animation with a mix of European and Japanese influences, which aligned well with the show’s vision.

For readers new to this style of French animation, what are some of its stylistic hallmarks?

Guillaume: French animation tends to balance artistic ambition with strong storytelling. It often favors expressive character animation, detailed backgrounds, and a willingness to experiment with visual styles. 

Unlike the rigid pipelines of some larger animation industries, French studios embrace a more handcrafted feel, allowing for greater artistic expression. Films and series from France also tend to have a broader thematic range, often targeting older audiences alongside younger viewers.

Can you share a specific animation challenge on the BESTIALE project, and how did you solve it?

Guillaume: One of the main challenges was the extremely short format, only seven episodes of 12 minutes each, which left us with a very narrow window to lock in the exact visual style of the series. 

There was no room for trial and error; we had to find the right approach immediately. To achieve this, we assembled a highly senior team and implemented multiple tailored workflows, each adapted to the specific artistic and technical needs of different shots. 

This allowed us to maintain both efficiency and artistic ambition, ensuring that every scene met the high visual standards we were aiming for.

Did you use any special features or techniques within Toon Boom Harmony on the project?

Guillaume: We made full use of Toon Boom Harmony’s complete toolset, both for traditional animation and rig-based workflows. The flexibility of the software allowed us to seamlessly integrate hand-drawn animation with rigged elements, depending on the specific needs of each scene. 

This hybrid approach helped us maintain fluidity in character movement while optimizing production efficiency.

What one technique or approach was most important to achieve the film’s style?

Guillaume: The most important aspect of our approach was staying as agile as possible to meet artistic challenges while keeping within our production constraints. That’s why BESTIALE combines multiple techniques, traditional animation, some 3D elements, full rigging, and even shot-specific rigging. 

This allowed us to tailor the workflow to each scene, ensuring the best possible result for every shot. It was definitely a logistical challenge from a production standpoint, but in the end, this strategy proved to be the most effective when we see the final outcome.

Were there any particularly difficult shots or sequences to animate, and how did you approach them?

Guillaume: There were a few complex sequences, but one we’re particularly proud of for its complexity is the heroine’s fight against all the guards in the final episode. It’s a fight sequence with POV shots in it. The raw rage in her movements, combined with the tension built through the editing, makes this scene a truly unique piece of animation. 

Our team handled the complexity of these sequences by implementing the right methodology from the start. I’d say that with strong communication, genuine collaboration, and solid support for our talented teams, we were able to tackle this production with confidence and efficiency.

What was the process of working with Ankama like? How did the animation workflow between the two studios function?

Guillaume: Working with Ankama was a very collaborative process. They have a strong artistic vision, but they also gave us creative space to bring our own ideas. The workflow was structured around regular reviews and feedback loops. 

We would send rough animation passes for approval, then refine based on their direction while keeping an open dialogue throughout the production. This back-and-forth was key to maintaining consistency while allowing for creative contributions from both teams.

What was your favorite shot or sequence to work on, and why?

Guillaume: Honestly, it’s hard to choose because we loved all the episodes, but the last one felt particularly special. Without spoiling anything, there’s a moment in that episode where the raw, almost primal energy of the character takes over.

You can feel her rage, her will to fight for what she loves and cares about, all bursting through the screen. It’s one of those rare moments where story and animation are so deeply intertwined that they become one — and that’s pure cinema. We were incredibly proud to be part of bringing that sequence to life.

What advice would you give to other animators working with Harmony on projects with a bold, stylized look like BESTIALE?

Guillaume: Don’t be afraid to push the software beyond its default settings. Harmony is powerful, but its real strength comes from how you customize it to match your artistic intent. Experiment with texture brushes, play with timing, and don’t feel locked into perfectly smooth animation if the project calls for something more raw or expressive.

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• Interested in learning more about Ankama and the universe behind Dofus? Be sure to visit their website.
• You can also learn more about Studio Unagi on the studio’s website and careers page.
• Ready to embark on your quest to create brand-new animated worlds? Artists can download a 21-day trial of Toon Boom Harmony.