In his essay, Tuakana Metuarau poses the question: Why hasn’t Animated Horror Succeeded? Within the terms of the essay, success is linked to a larger presence in the domain of animation. Overall, the essay is engaging, with a clear narration, and includes many illustrations of the films and cited animations. Metuarau begins by explaining what he means by animated horror. Using definitions of horror from Noel Carroll and animation from Charles Solomon, he establishes a chronology of horror influenced and animated horror from the 1930s onwards. Acknowledging that he is working primarily with examples of animation produced in the US and Japan, he lays out a timeline of production across these two countries. It’s always possible to quibble with definitions and selections used to illustrate a timeline, but what works especially well is the way Metuarau links the ebb and flow of production and innovations in storytelling and style to changes in technology and production. He considers how the opportunities for animators to produce novel and more adult themed work was impacted by the shifting of production from film to television in the US, the introduction of original video animation (OVA) in Japan, cable TV in the US, and the rise of independent production in both countries (and globally) as animation packages and editing software became increasingly available, with the internet a route for showcasing work. This timeline, which takes up around 25 minutes of the 39-minute essay, is detailed and draws out the connections between tendencies in horror filmmaking and animation styles. It provides a great resource for anyone starting to think about horror and animation. Having established this timeline for production in Japan and the US, Metuarau returns to his main question. He argues further that though there are many examples of horror influenced animation and animated horror, its limited place within animation overall can be linked to the economics of its audience being ‘a niche within a niche.’ Animated horror finds a place in adult animation, and the audience for adult animation remains smaller than family oriented animated. Consequently, the profitability of animated horror is much lower and less attractive for-profit oriented companies.