Llewellyn, Tom (May 20, 2022). "Every animation studio that has worked on Love, Death and Robots so far". HITC. Archived from the original on May 24, 2022 . Retrieved May 24, 2022. Giardina, Carolyn (February 16, 2023). " Avatar 2 Sweeps Visual Effects Society Awards Feature Competition". The Hollywood Reporter. Archived from the original on February 16, 2023 . Retrieved February 17, 2023.

On August 12, 2022, Netflix renewed the series for a fourth season. [12] Writing [ edit ] Philip Gelatt wrote more of the series' episodes than anyone, especially episodes that are adapted from short stories Cast: Elaine Tan as Yan, Matt Yang King as Liang, Gwendoline Yeo as Tsiao-Jung, Maddox Henry, Sumalee Montano, JB Blanc Milligan, Mercedes (March 20, 2019). "How Lead Studio Blur Rendered the Wild Animation of 'Love, Death & Robots' ". Animation Magazine . Retrieved May 24, 2022. Love, Death + Robots – Volume 2". VFXexpress. May 11, 2021. Archived from the original on June 11, 2022 . Retrieved May 24, 2022. Schwartz, Terri (March 16, 2019). "How David Fincher and Tim Miller's Heavy Metal Reboot Became Netflix's Love, Death & Robots". IGN. Archived from the original on January 12, 2020 . Retrieved May 23, 2022.

Frei, Vincent (May 10, 2021). "Love, Death + Robots - Volume 2". The Art of VFX (in French). Archived from the original on May 24, 2022 . Retrieved May 24, 2022. Production [ edit ] Development [ edit ] David Fincher serves as executive producer for the series.

A MARSOC team are sent to rescue a hostage from insurgents. As they follow them deep into the mountain tunnels, they find the hostage's and insurgents' bodies eaten by a swarm of mysterious spider-like creatures. The team loses four men to the swarm, leaving team leader Sgt. Coulthard and Harper as the only survivors. The duo finds a glowing light and follows a mysterious sound into a deeper chamber, revealed to be a prison containing a gigantic, eldritch deity. The deity induces visions of world destruction in Coulthard and Harper, convincing Coulthard to release it, and forcing Harper to kill him. The deity then instructs Harper to release it. She is then seen walking into the desert with her eyes gouged out and ears cut off as she mutters an alien language. Moore, Kasey (April 19, 2022). " 'Love, Death and Robots' Volume 3: Coming to Netflix in May 2022". What's on Netflix. Archived from the original on May 24, 2022 . Retrieved May 25, 2022. Frei, Vincent (May 20, 2022). "Love, Death + Robots - Volume 3". The Art of VFX (in French). Archived from the original on May 24, 2022 . Retrieved May 24, 2022.

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Not every studio opted for 3D or photoreal aesthetics. Passion Pictures, the team behind “Zima Blue,” felt that a 2D, TV Paint art style was in keeping with the tone of Alastair Reynolds’ philosophical sci-fi tale. AMBASSADOR21 Netflix show official trailer". Ambassador21. March 19, 2019. Archived from the original on May 20, 2022 . Retrieved November 18, 2020. Brad North, Craig Henighan, Jeff Gross, Dawn Lunsford, Alicia Stevens and Jeff Charbonneau (for "Snow in the Desert") Travers, Ben (March 10, 2019). " 'Love, Death & Robots' Review: David Fincher and Tim Miller's Netflix Shorts Are One-Dimensional Beauty". IndieWire. Archived from the original on March 19, 2019 . Retrieved March 18, 2019. Love Death + Robots is a Netflix series like no other--a breath-taking journey of mature, high-concept tales told with seductive characters, astounding plots, and explosive action. With each episode crafted by different animation teams across the globe, the thought-provoking anthology covers a vast range of animation styles from edgy 2D to stop-motion to anime to hyper-realistic 3D CG.

A man murders a woman in an apartment in Hong Kong. He then realizes that a woman in the hotel across the street, identical to his victim, has witnessed the murder. He starts to chase her. The woman flees to a fetish club where she works as a dancer under the alias Zawora. The man enters the club, guided by the host. During her dance, she sees the man in the audience and he chases her through the city streets. The woman steals a gun and hides in an apartment, but the man finds and corners her. They proceed to fight over the gun, with the woman ending up shooting the man dead. She then realizes that a man in the hotel across the street, identical to her victim, has witnessed the murder, implying a time loop. Brad North, Craig Henighan, Dawn Lunsford, Jeff Charbonneau and Alicia Stevens (for "Snow in the Desert") Following a long decade to bring the animated anthology, Netflix took interest on the idea and decided to greenlit the series: "Well, David Fincher and I had tried to get a Heavy Metal film made for years and years. I mean, hundreds of meetings. The original movie came out in 1982 and it was very inspirational to a lot of animators who wanted to do adult animation. So when I met David, we wanted to do something together and we said, 'What about doing a new Heavy Metal film?' because he was an animation fan, but the world just was not ready for it at the time. But in the ten years that we did meetings and tried to get the project going, the world came around to see adult animation as viable, and Netflix was the one that was willing to take a chance. And so here we are." [29] The studio gave Fincher and Miller a total freedom to allow them to "breathe life into their vision". [30] The series would be taking the name of Love, Death & Robots instead, and it would consist of 18 episodes ranging from 5 to 15 minutes including a wide range of animation styles, from traditional 2D animation to photo-real 3D CGI. [31] [32] While working in Netflix for the series House of Cards and Mindhunter, Fincher discussed his wish to break free of the half-hour and hour-long format for the animated series: "We have to get rid of the 22-minute [length of a half-hour show with commercials] and 48-minute [length of an hour-long show with commercials] because there's this Pavlovian response to this segmentation that to me seems anathema to storytelling. You want the story to be as long as it needs to be to be at maximum impact or entertainment value proposition." [33] ComingSoon.net (July 21, 2011). "SDCC: Robert Rodriguez Takes Heavy Metal". comingsoon.net. Archived from the original on March 14, 2012 . Retrieved November 26, 2011.Love, Death & Robots is a celebration of animation as an art form. Each short has been crafted with the care and attention that’s befitting of each studio’s determination to do them justice. Their charm lies in the stunning visuals on display, and the animation techniques used. They are love letters to the plethora of styles developed over the past century. For Miller, the appreciation for this type of art is what continues to inspire him, and keeps his own love affair with animation alive. Maxime Luere, Zoé Pelegrin-Bomel, Laura Guerreiro and Florent Duport (for "Snow in the Desert" – Hirald)