Pixar Animation Studios made history with this series because it was the first series not to be based on an existing property. Most of Pixar’s television projects are based upon an existing property and are usually short-form. Most importantly, I found Win or Lose to be one of the most creative animated series I have seen of late.
Win or Lose follows the intertwined stories of eight different characters as they each prepare for their big championship softball game. The series reveals what it actually feels like to be in the shoes of each character—the insecure kids, their helicopter parents, and even a lovesick umpire—through incredibly funny, deeply emotional, and uniquely animated perspectives.
The cinematography choice of making every episode feel like it was shot with a handheld camera was a thoughtful one. When most families think about their children’s softball or sports games, it is common for parents to record them. Before smartphones, parents often used handheld cameras to capture their kids’ matches. This camera style sparked a core memory for me, reminding me of the times my mom and I would watch my brother’s soccer matches.
“I found Win or Lose to be one of the most creative animated series I have seen of late.”
From a music standpoint, Win or Lose had composer Ramin Djawadi (Fallout, House of the Dragon) at the helm. Together, CAMPFIRE and Djawadi created original songs for the series. I did not expect to get some hip hop vibes from a show like this.
The storytelling was so adept at working in YA themes like high school house parties. There were instances where they substituted high school party drinking with a girl throwing up for accidentally eating a slice of pizza when she is lactose intolerant. One of the episodes dealt with a teacher learning to use a dating app to get over their broken heart.
The same episode with the teacher learning about online dating was a great showcase of Pixar’s high-quality animation. The general animation style for each character was soft and squishy; then, the animation style for any scene taking place in digital spaces had a different animation style. I appreciated one of the scenes where a confrontation between two characters looked like a fighting game match in a Mortal Kombat or Tekken game. It was similar to how Scott Pilgrim vs The World implemented this.
“For those who enjoy sharp humour and, like me, have a short attention span, Win or Lose is a perfect short series to watch and have a good time.”
Another standout aspect of Win or Lose was the colours dedicated to each character and how they reflected each character’s perceived self. Not only colours but each character also had some kind of mental armour or self-image. For example, one person had blue medieval armour whenever they had their emotional guard up. Another character was preoccupied with their finances, so green was prominent in how they saw the world. They also imagined themselves as a CEO, so they appeared more grown-up in their mind.
In general, I wasn’t sure who the target audience for Win or Lose was. Based on episode one, I thought it would appeal to the same audience that enjoyed Inside Out because it explored how kids perceive anxiety. By episode four, I realized it was more geared toward parents and young adults. It could be for kids, too, but many of the themes focused on adolescence and the formative years of middle school.
This was one of Pixar’s more frenetic and imaginative projects, and I was thoroughly engaged within the first five minutes. The 20-minute episodes were easy to digest and allowed the fast storytelling to speak volumes in a short time. The different animation styles and vivid colours provided a visually stimulating experience. For those who enjoy sharp humour and, like me, have a short attention span, Win or Lose is a perfect short series to watch and have a good time.
