NEGATIVES:
If you've read 'Burton on Burton' by the same author, there is some overlap in content in the beginning of the book. I found that off-putting, but the content made most sense to be put as introductory texts. I can't really fault him for that. There was also a little bit of overlap with quotes from a behind-the-scenes type of video I'd watched on YouTube about the puppets in Corpse Bride.
Within the first few pages there are a couple of words that seem to be typos. One of them was spelling Nick Park's name as Nic Park, but he repeats this toward the tail-end of the book as well, so I'm unsure if at that time he was going by that name or something (?). The other was just a flat-out word missing a letter.
The last chapter in here was a little bit of a let-down. I'd thought I had a good bit of the book left to go through and was quite excited. Reaching the last chapter, I realized it was an Illustrated version of the movie aka the movie written in sort-of a novel form, with full song lyrics, movie stills and the occasional storyboard sketch. It's an interesting idea for a section, not a common one either, but it was just disappointing because I'd expected more behind-the-scenes looks and information. Ending the book with this chapter also felt like there was no proper closure since it was such an abrupt stop.
POSITIVES:
Stylistically speaking, this book makes my heart sing. It's such a visual treat. It was a little awkward reading this in paperback format because of its rectangular shape. I'm very particular about maintaining my books and there's no greater tragedy than a broken spine; you can't really put this book down and spread it like a hardback because you'd break it but at the same time, it's so long that it isn't really comfortable to handle like a regular portrait-oriented paperback. Anyway, this book is stunning. I'm just as impressed with it as I was with The Art of The Boxtrolls. The front cover already blew me away. That title you see? IT'S A BEAUTIFUL GREEN REFLECTIVE SHINY MAGIC. My god, the gorgeous two-page spreads in this. The sketches that were compiled collectively and put in that format made me want to take pictures of them and use them as wallpapers.
We get a lot of varied artwork in here as well. Probably not as varied as in the Boxtrolls art book, but still a good selection. There were less people working on designing in this movie, so you can't fault it. We definitely do get images of different formats aside from different artists. Even just a regular close-up of the Victor puppet was so fascinating to look at because you could see the texture of his skin and really appreciate how every bit of him was put together. Furthermore, you could observe his subtle facial expression, that you know was so thoughtfully crafted and graceful.
It wasn't just a simple effort to plop these images together with text but every inch of this book was designed with thought. It's evident in the colour-scheme, the fonts etc, etc. It's very cohesive that way.
Initially, I was annoyed with the negatives because most of them came early on and it made me a little frustrated with the book because I knew I was supposed to love it. But soon, the good stuff started kicking in. The content is not superbly organised, but you get your fill. I believe most of it was about development. But we definitely also got to learn about the entire process of actually creating the film and the different puppet mechanisms. I took quite a bit about technology in stop-motion away from this book. They delved into film cameras as opposed to digital cameras, aside from the various ways they can create puppets and why certain types of puppets are more suited for some characters. It was also interesting seeing them overcome obstacles. That's one of the main things that gets me excited about these art books: learning the challenges that arise with stop-motion and seeing how different studios would approach and rationalize these. Aside from the usual challenge of controlling physical elements in the film to ensure consistency and natural motions, something quite unique that i've yet to see elsewhere was their challenge in making a skeleton puppet. The skeleton puppet was so thin and exposed, they weren't sure how they would hide the armature.
Also unique to this artbook was how involved the voice actors were. Salisbury tends to add lots of quotes from people in the books i've read by him, but it's always relevant and has a good flow. Tim Burton had mentioned he loved doing this project because the people were basically doing it out of their sheer interest. Then, we get to read about Helena Bonham Carter & Johnny Depps' take on it. Very interesting.
Despite its minor cons, this was a visual treat and a fascinating treat. A must have for Corpse Bride fans.