Mr Peabody has invented the WABAC, a time-travelling machine that he and his adopted boy Sherman use to explore history. Examining the making of the DreamWorks comedy animation, this book goes behind the scenes in order to shed light on the creative process involved in bringing the film to fruition.

DreamWorks Animation brings Jay Ward's classic cartoon Mr. Peabody & Shermanto the big screen in an all-new comedy adventure for the whole family. Mr. Peabody is the world's smartest person who happens to be a dog. When his "pet" boy, Sherman, uses their time-traveling WABAC machine without permission, the events in history spiral out of control to disastrous and comical results! It's up to this most unexpected of father-son teams to put things back on track. Children ages 3–7 will enjoy this full-color Pictureback storybook that retells one of the movie's most exciting time-traveling adventures.

Originally published as Mr. Peabody & Sherman issues #1-4.

A boy learns a lesson about the destructive power of gossip.

A visual celebration of DreamWorks Animation's 20th anniversary, featuring concept art, pre-production designs and character sketches from all 30 of the studio's films.

Storyboards til Star Wars-filmene: A New Hope, The Empire Strikes Back and Return of the Jedi

One animation empire was built on a mouse, another was built on a rabbit. This one was built on the unlikely combination of a moose and squirrel. It began in the late 1940's, when Jay Ward and his lifetime friend, Alex Anderson, joined forces to create a cartoon series for the fledgling medium of television with a budget that would make "shoestring" look generous. The result was Crusader Rabbit, which debuted on a local NBC affiliate in Los Angeles in mid-summer of 1950. The cheaply produced and minimally animated series became the inauspicious and unlikely beginning of a TV animation powerhouse with a defiantly innovative-and influential-brand of humor that shaped animated comedy for decades. As the 1950's drew to a close, Ward, with now-former partner Anderson's blessing, took two characters from an unsold series they had developed together, teamed with writer Bill Scott and a couple of freelance UPA artists, and created a short pilot film starring a flying squirrel and a hapless but hilarious moose. That pilot, Rocky The Flying Squirrel, launched an animation studio that turned out the funniest, hippest and most satirical cartoons on television and creating a comic vocabulary for generations of children and their parents. The shows produced at Jay Ward Productions featured the wittiest writing in the medium, some of the best character voice work, and ... some of the worst animation. Assembling a staff of first rate writers and artists, Jay Ward was undermined by the cheapest budgets in what was already a low-budget medium. And it showed. In one of the earliest examples of runaway production, Ward was forced to send the animation out of the country. But what was happening with the art off the screen revealed a fascinating dichotomy of the brilliant draftsmanship on the drawing boards and the crude but effective work that was aired. This behind-the-scenes artwork was never meant to be seen by the general public but was merely a means to an end. Now, for the first time anywhere, we are provided an in-depth look at the comic artistry of a talented group of designers, storytellers and directors who created such fondly remembered shows as Rocky and His Friends, Fractured Fairy Tales, Peabody's Improbable History, Dudley Do-right, George of the Jungle and Super Chicken.