The Booty In this structure, the protagonist wants something (perhaps money, food, or a girl) and usually suffers through a series of often overly complicated, botched attempts before successfully capturing the object of his desire. Of course, sometimes he ultimately fails. If the object of the protagonist's affection is a moving target, a chase is often involved. Keep in mind that the goal must be worthy and not easily or immediately attainable. Examples include Fat Cat on a Diet, Knick Knack, Lunch, Egg Cola and every Wile E. Coyote cartoon (see Figure 23).

[Figures 23 & 24] An overly complicated attempt at reaching an object of desire represents the popular short film structure we like to call the booty. A short animated film can provide the clever filmmaker with a great forum for delivering a message or a moral as long as it is presented with subtlety and clarity. Humor and unique abstraction are especially appropriate styles for this genre.

The Moral This structure uses allegory or direct finger pointing as a vehicle for making a political or social statement. Often, characters who oppose or ignore the author's agenda ultimately suffer consequences or cause others to suffer because of their negligence, as in Balance (don't be greedy), Point 08 (don't drink and drive) and One by Two (selfishness leads to loneliness). In some cases, the character(s) learn an important lesson by eventually adopting the author's view or ultimately realizing the folly of their previously misguided opposition, as in The Big Snit (don't miss the forest for the trees). Other short films that practically scream, "and the moral is," include For the Birds (he who laughs last, laughs best), Bert (don't judge people just because they are different), Passing Moments (he who hesitates is lost), Values (be supportive of your children's dreams) and Le Processus (don't be a lemming — see Figure 24). Always remember that messages are best served with an appropriate combination of clarity and subtlety

The Villain In this structure, an enemy is at hand and must be conquered or evaded. Many villain stories contain several of the following types of actions, but some contain only one:

• The stronghold — defend! This action is when the villain is attempting to enter and disturb or destroy the protagonist's happy home, as in The Three Little Pigs.
• The invasion — eject! In this action, an unwanted element (such as a monster, villain, or mother-in-law) has entered the picture, disturbing the hero's happy home, and must be removed, destroyed or successfully evaded. Sometimes the protagonist does not prevail. Occasionally, the initially unwanted element is ultimately accepted. Invasion examples include The Wrong Trousers, The Cat Came Back, Grinning Evil Death, Tin Toy, AP2000 and Technological Threat.
• The chase — evade! The hero finds himself dangerously vulnerable, often in open terrain, where he is pursued by the menacing villain. Sarah is a fine example. Keep in mind that a straightforward chase scene is not usually a very interesting story. Even if it has a resolution in which the hero either escapes or gets caught, it is still not much of a story unless there is a particularly intriguing setup, the hero comes up with an especially clever escape or he somehow turns the tables on his pursuer.
• The battle — engage! The hero partakes in direct physical or mental conflict with his antagonist, as in films such as Puppet, Silhouette, Polygon Family and every episode of Celebrity Death Match (see Figure 25).

[Figures 25 & 26] In the popular villain at large scenario, something or someone nefarious or simply unwanted must be evaded, ejected, defended against or defeated. Well, this is a fine pickle I’ve gotten myself into!